A group exhibition including Jennifer Boysen, Allen Hung-Lun Chen, Victor Estrada, and Torbjorn Vejvi. This is My Community! presents works by four inter-generational LA based artists; Jennifer Boysen, Allen Hung-Lun Chen, Victor Estrada, and Torbjorn Vejvi. Each artist possesses a quiet brazenness that diverges from the expected by establishing sets of studied maneuvers to create spaces of subjective embodiment culled from their personal experience. Through their artworks this space comes into being, formalized into objects that are surrogates for a more real and tangible reality. These pieces start out fragile, yet they rest in their own assured presence and physicality. Each artist is a cultural transceiver, they communicate their reflex of what it means to have a subject position, by situating it in an object destined to become part of an eccentric network of human experience. Here is the discourse of this artistic community: it’s about sensitivity, reception, and creation, unified in its arc to establish a site for the condition of subjectivity shared between objects and viewers. Boysen’s stretched linen pieces represent fossilized forms of hope. Expanded and contracted, the delicate push and pull between two different poles in her works deliver a voluptuously exquisite promise. There is a sensual tussle here that excavates something uniquely human and lost, but wanting to be found. Vejvi also has captured a longing between the flat and the imagined psychology of human habitat, the tromp l’eoil curtain and a maquette, an untouchable possibility, a good dream made real. What a beautiful metaphor for a viewer to inhabit vis a vis sculptural time. Vejvi recalls an adult man in his rural Swedish hometown that perhaps never launched as society expects whom the artist has watched dwelling in his mother’s attic. Vejvi speaks of having recruited the psyche of this man, as he perceives it, and making spaces he’d like to “be in”. Chen’s works push at the structural limits of sculpture as it collides with the heterogeneous nature of belief; the prototypical ideal of social space. The two pairs of sculptures stretch out in opposing horizontal and vertical axes. Architectural tropes in each work are ceremoniously lauded over by elemental signs invoking an indexical site for the mystical. Further complicating the relationship between the two sets of works is the mechanism by which these indices are made. They are carved and further elaborated by ball-point pen drawings in Pillars for the Living and the Dead, whereas Pilasters prominently feature crude iPhone photos of bird sanctuaries found carved in the facades of places of worship. Estrada synthesizes in oil paint a human/animal head frozen in a moment of ecstatic repose after the exertion of looking sideways. Built up in impasto strokes, the figure iterates the feeling of collated time that has separated from the body and the mind. The anthropomorphic form is set atop his silly-puddy Easter egg palette, nodding to the pomp and circumstance of his youth, yet perfectly sated in its current disposition. The paint is built out of an emotional relay of senses and stacked perceptions, a reconstruction of life lived.