cuirrent exhibition
Adult Contemporary
Jonathon Hornedo
02.10.18 - 02.27.18

Opening Reception Saturday February 10 from 7 to 10pm

Open Saturdays and Sundays from noon to 6pm

Contact Elephant for appointments:

Elephant, in association with Pretend Gallery, is eager to present Adult Contemporary, a solo exhibition of new self-portraits painted by Jonathon Hornedo.

Adult Contemporary is also the title of Hornedo’s forthcoming second visual album. In 2016, with Art Catalogues at LACMA, he released his debut album called What’s Knew, a group of small individual prints of abstract paintings that were rich in tonal variation, color, and shiny lines. For Adult Contemporary, Hornedo maintains an exploratory use of color with translucent stains and opaque layers in oil. There is still some shine, especially in the T-zone area. Hornedo’s interactions with the genre of self-portraiture bridge structured improvisation, self-channeling, and alignment of material and subject. His strokes are broad, loose, and tight. The subject is mannered, illusionistic, expressive, and distortions ooze through the cracks. On view at Elephant are a selected preview of paintings for the new solo album of 11 prints called Adult Contemporary.

There is more than one Hornedo in this show. There’s a red Hornedo. A gold one, a blue one, and one where he kind of looks like a vampire. In another he looks like an androgynous green alien with greasy long hair. He’s wearing the same thing in each painting like a uniform, the same white collared shirt and dull ochre peacoat that he bought specifically for this project. He appears calm, anxious, annoyed, and joyful. This is a guy who once slipped on a banana peel. It’s the face he often made when telling people about these paintings before he painted them. It’s the Pura Vida vibe of a first generation Costa Rican who accidently took a dance class once and saved all his receipts last year to calculate his business tax deductions and who recently bought a cold-pressed masticating juicer. He masticates daily now. Sometimes twice a day.

15% off pre-orders for Adult Contemporary at the opening. The album includes 11 individual prints, digital copies, a soundtrack, and an opportunity to have your portrait painted by Jonathon Hornedo.

Edition Popcorn: Beet Pop Blush by Sara Chao

No Way Rosé by Pretend Gallery


Jonathon Hornedo was born in Long Beach, CA in 1982. He has a BA in Art from UCLA and graduated in 2010. In 2012 his solo show Canvas Panels was reviewed by David Pagel in the Los Angeles Times. Pagel said he was “wicked silly and wildly intelligent”. British journalist Sophie Heawood has called him “a most excellent man”. Paintings from his debut album What’s Knew have been exhibted at Outside Gallery, Pretend Gallery, and AR Projects. His work has been exhibited at the University Art Museum at CSULB and featured in the LA Weekly. In 2016 Hornedo began working with performance artist Anthony Bodlović on a podcast project called Rated PG. It aired on KPFK 90.7FM from November 2016 to February 2017. Episode nine premiered at PØST for Hornedo’s solo show of landscapes called Now Showing. His studio is called Pretend Gallery. He lives and works in Echo Park, Los Angeles.

past exhibition
Roberta Gentry
01.06.18 - 01.27.18

Opening reception Saturday, January 6th 7-10pm

Ships is an exhibition of new work by Roberta Gentry made up of segmented and stacked groups of shapes in paintings and turned wood. The paintings are bilaterally symmetrical impossible structures that float above beds of pattern. The sculptures are created on a wood lathe, and include a 12 ft. carved pole, as well as strings of painted beads.

Roberta Gentry received her MFA from SUNY Albany and her BFA from the University of Arizona. She has had solo shows at the Joyce Goldstein Gallery in Chatham, NY, and at Stanica Cultural Center in Zilina, Slovakia following a residency funded by the US Embassy. Group shows include Durden and Ray, Brand Library and Art Center, and Left Field Gallery. She lives and works in Los Angeles.


On view Saturdays, 12pm to 4pm through January 27th and by appointment. To schedule a visit, email elephant:

past exhibition
Erica Ryan Stallones
11.03.17 - 11.26.17

Opening November 3, 7 - 10pm

The mission of STAR DECK Academy is to explore the physical and symbolic connections between mind, body, spirit and matter through the language of Our Solar System. The point of orientation is Earth, by which is meant The Native, a role we all play beginning at the moment of birth.

The material presented in this inaugural exhibition is both research-based and intuitive. The Academy Star Deck attempts to discern the collective pull of the major planetary bodies through the creation of a series of symbols (i.e. “paintings”).

Meanwhile, in The AstroAerobics Lab, constellations are explored in relation to the (physical, human) body so as to understand through experience the many variables present within a given natal chart (i.e. “life”).

Saturdays & Sundays, 12pm - 4pm  11/3/17-11/26/17

past exhibition
support, for beginners
Josh Atlas
10.07.17 - 10.28.17

Elephant is pleased to present Josh Atlas’ exhibition support, for beginners. The exhibition will open with a reception on Saturday, October 7th from 6 to 9 pm and will be on view through October 28th.

With this body of work, Atlas wants to open space for empathy. Though the objects are slight, their visual strength helps them hold their posture. Slips of paper jut from their spines, creating a space for breath. Moment to moment, they maintain their surety.

The sculptures are wall mounted and face directly outwards. They are solid and open. Nothing is hiding, nothing is trying to trick you. They present themselves clearly and plainly, giving all they have to offer.

In the Stacks series, several pieces of paper are pierced by wood, making many bodies into one. Their interdependence creates wholeness. In the Mounds series, ribbed shapes reach off to the side. These pieces push their focus into the thin edges between blocks of color and pieces of paper. Separate elements merge with the clarity of a single body.

Josh Atlas was born in Brooklyn, New York. He studied at Carnegie Mellon University (BFA, 2005) and Mountain School of Arts (2015) and attended residencies at Wassaic Project, Vermont Studio Center, and Creative Arts Center - Woodside. His work has been shown in group exhibitions at Regards (Chicago), MAMO (Marseilles, France), Klowden Mann (Culver City) and Allegra LaViola (New York). Josh Atlas lives and works in South Pasadena, California.

On view Saturdays through October 28th and by appointment. To schedule a visit, email elephant:

past exhibition
Fabric of the Particular
Curated by Michelle Chong
09.08.17 - 09.30.17

Opening Friday, September 8, 7-10pm

Featuring work by
Laida Lertxundi
Victoria Lucas
Chris Mancinas
Renée Petropoulos
Brandy Wolfe

The group show Fabric of the Particular pulls its name from Roberto Bolaño’s collection of short stories, “Last Evenings on Earth,” where the narrator and his dentist discuss the nature of art. The dentist explains art comes from "the story of a life in all its particularity. It's the only thing that really is particular and personal. It's the expression of, and at the same time, the fabric of the particular.”

The curator, Michelle Chong reflects on how the personal is expressed through particular choices, and how intentions are manifested into social commentary. More specifically, the works in the show explore the relationships between self and body, body and landscape, identity and place, and mortality and ritual.

Laida Lertxundi works in moving image, photography and printmaking. Her main body of work is shot on 16mm in a process she calls Landscape Plus, which combines filmic records of people and places with a strong emphasis on sound and pop music, resulting in languid passages of cinematic language, bodily desire, and existential awareness. She employs a fragmentary approach to editing in which cinematic forms of storytelling are replaced by a focus on process and materiality. Her work highlights the tension between form and the experience that will always exceed it.

Victoria Lucas’ practice led research aims to investigate the analogy of the artificial landscape as an ideological mise-en-scène, to challenge anti-progressive frames of power through the construction of imaginary place as artwork. Limiting orthodox idealism has gained a foothold in western politics, fueled by the widespread manipulation of facts and a populist shift towards right-wing agendas. Drawing upon imaginary fictional space, the staging of the work cites cinematic, geographic, and literary frames and references in order to interrogate the power of constructed heterotopic resistance against unquestioned privileges of power from a feminist perspective.

Chris Mancinas explores the power of language in reworking the self and reconfiguring identity through text, textile, and sculpture. They describe this as “Leaning with intent to fall, fall forward with unabashed fury, to be and become, embracing the truths, the sort of truths and all of the tru-ish-isms.”

Renée Petropoulos presents drawings of signs and symbols consciously arranged to explore their functions, their monumentality, their changing histories, and conventions. As Bolaño’s dentist further describes the fabric of the particular as moments in life, “the secret story… the one we'll never know, although we're living it from day to day, thinking we're alive, thinking we've got it all under control and the stuff we overlook doesn't matter. But every single damn thing matters! Only we don't realize. We tell ourselves that art runs on one track and life, our lives, on another, and we don't even realize that's a lie," Petropoulos explores the dialectical relationship between our private lives and our public lives and how they are woven intricately together. Her work navigates between personal and political representations, tearing at the threads that weave between the facets of our lives as individuals and as subjects.

Brandy Wolfe’s photographs start with an exhibition catalogue or an informational book, from which she cuts out the subject central to the text. What remains in the book is the framework/support for the now missing objects. After arriving at a desired composition within the physical pages of the book, the pages are scanned, edited, printed in pieces on cheap computer paper, and taped back together. Embracing an in-between-ness while also emphatically positioning themselves as cultural objects of worth, the resultant large-scale images are a conflation of two- and three-dimensional space. While the intended narrative of the source material is now splintered and broken, there still remains a desire to piece together the fragmented forms, shadows, and spaces into new narratives—to impose a new hierarchy onto the void.

The images in the series Memoriam Holera (a rough Latin translation for memorial greens) started out on the pages of a 1949 book entitled Favorite Flowers in Color. While originally drawn to the book for its fetishized images of affect (in the form of beautifully lush flowers and the carefully constructed context they were photographed in), the resultant abstractions became a meditation on the relentless mutation and division of cancer cells, following two recent excisions of a phyllodes tumor. Through weeks of cutting, scanning, and editing more than 500 pages of greens, a series of fragmented landscapes emerged that float in and out of focus—with moments of beautiful lucidity and hidden murk.

Michelle Chong is an artist based in Los Angeles. She received her MFA from Otis College of Art and Design and her MA in Psychology from Antioch University. She is the founder of Short House and has served on the board of FAR and SASSAS.

Exhibition on view Saturdays through September from 12-4pm and by appointment. To schedule a visit, email elephant:

past exhibition
Varieties of Disturbance
Joan Weinzettle
07.09.17 - 07.30.17

Opening reception Sunday July 9, 7-10pm

Varieties of Disturbance is an exhibition of sewn works on paper that hover somewhere between textile and drawing.

Completed over the past two years, the works reveal the desire to process, distort, partially erase and release text surfaces taken from stories, poems, reviews, and most recently, opinion pieces and current news into an altered state of being. Asking to be read again, the works shift back and forth between what we know and what we no longer see.

Using cotton thread and ordinary machine sewing the work is visually grounded in the basic structure of plain weaving and netting, referencing lines in nature and ancient and contemporary textiles.

Joan Weinzettle (b. Pittsburgh, Pennsylvania) is a Los Angeles based artist. She received a Bachelor of Fine Arts in Textiles from California College of the Arts in 1985. She has exhibited work in the LA area most recently in WOVEN, a group show at Sturt Haaga Gallery curated by John David O’Brien and SAMPLED, a group show at Offramp Gallery curated by Anita Bunn.

On view Saturdays from 12- 4 and by appointment. 

To schedule a visit, email elephant:  

past exhibition
Rock Collection
Elizabeth Loux

If you are a rock, what are you doing?
  1. Someone threw me and I’m flying through the air.  Small things hit me as I fly but my shell     deflects them.  I’m going to land at some point and my shell will protect me.
  2. Someone is holding me in a closed hand.  Their other hand is cold but this one is warm because they keep squeezing me, on and off.  They are messing with my shape but I don’t  change.              
  3. Not really doing anything.  It’s cold outside and my shell is colder than the air.
  4. Someone is trying to clean me.  They are trying to take responsibility for their impact on me by cleaning the mess.  Sometimes, an object makes it easy by being easy to clean, but I am rough and porous and trap dirt.
  5. Someone is trying to clean me, but this time, I am nonporous.  I am easy to clean and minimize their impact on me by being resilient.
Elizabeth Loux is an artist and residential cleaning lady from Philadelphia.  While cleaning, she projects herself onto the objects that she is maintaining. These objects are referenced in her work through mold making and the use of materials found in new construction.  She road tripped to Los Angeles with these sculptures in or on her car.