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Current Exhibition

Andrew Chuani Ho
Days and Days
Andrew Chuani Ho   
October 29, 2016 - December 10, 2016
Opening Reception: 5 - 8 p.m.
Andrew Chuani Ho - Installation View: Andrew Chuani Ho, "Days and Days," 2016 Andrew Chuani Ho - Installation View: Andrew Chuani Ho, "Days and Days," 2016 Andrew Chuani Ho - Days and Days, 2016 Andrew Chuani Ho - Helper's Hideout, 2012
Andrew Chuani Ho - Punzel, 2016 Andrew Chuani Ho - Bingo's Ballad, 2016 Andrew Chuani Ho - Rocky Cock, 2016 Andrew Chuani Ho - Rambo, 2016
Andrew Chuani Ho - Blue Chimneys, 2016
To view more artwork from the exhibition, click on images.


Richard Heller Gallery proudly introduces the works of Andrew Chuani Ho.

Ho's drawings depict a cast of vibrant characters and verdant environments that characterize a visual language that is working to assist the artist to chronicle experiences through storytelling. Ho vicariously inserts himself into performers in his narrative as the individuals navigate through conflicts that often parallel the artist's reality. In his inaugural solo show, Days and Days, Ho stages the inception of his narrative with a set of drawings that draw from a diverse range of influences, including the likes of Henry Darger, Henri Matisse and Gabriel Garcia Marquez.

Having a deeply spiritual upbringing, Ho's work exhibits the use of patterns, colors and symbols to reinterpret myths and fables of yore into meditatively drawn colored pencil drawings.

Ho was born in Los Angeles, California, in 1990. He received his BFA from Art Center College of Design in Pasadena, California, in 2013 and lives and works in Los Angeles, California.


Artist: Andrew Chuani Ho, Title: Gulf Crossing, 2008 - click for larger image
Corey Arnold  Gulf Crossing, 2008 
30 x 40 Inches  , C-print  Sold



Group Exhibition
Group Show
October 29, 2016 - December 10, 2016
Opening Reception: 5 - 8 p.m.
John Monn - Vessel II, 2016
Sasha Pierce - Birds and Bees, 2016
Paco Pomet - Maxima, 2016
Mark Whalen - Obstruction Divers, 2016
John Wigmore - Untitled, 2016
Dustin Yellin - Antenna (On The Alleged Meaninglessness of Metaphysics), 2016
To view more artwork from the exhibition, click on images.

Group Exhibition  |  East Gallery


Featuring New Works By:

John Monn  |  Sasha Pierce

Paco Pomet  |  Mark Whalen

John Wigmore  |  Dustin Yellin

About John Monn:

Born 1982
2004 Bachelor of Fine Arts Degree, James Madison University, Harrisonburg, Virginia
Lives and works in Los Angeles, California

"I began experimenting with materials at a young age to understand their interactions. At the time, I was exponentially more excited about empty candy containers to make my mixtures in than their original contents. With a suburban kitchen as my studio, I was able to play with color, composition and texture as my experiments were left to cure and ferment. The urge as a child to visually understand and master the elemental relationships of materials and process has never subsided. My approach now, retains the same spirit of adventure and discovery with the attempt to create cartographic renderings of my own thoughts and emotions."

About Sasha Pierce:

Born 1974, Guelph, Ontario, Canada
1997 Bachelor of Arts Degree, Honours, University of Guelph, Guelph, Ontario, Canada
2004 Master of Fine Arts Degree, University of Waterloo, Waterloo, Ontario, Canada
Lives and works in Toronto, Canada

With a highly ingenious approach to abstract painting, Pierce meticulously lays multi-colored lines of oil paint onto linen in dense, thread-like patterns. Using mathematical models for geometrical form as the starting point of her kaleidoscopic compositions, Pierce translates precise diagrams into tangible form. Pierce carefully squeezes vermicelli-thin strands of paint out of a plastic bag, then uses a ruler to shore up the strands against one another, not unlike how a reed pushes threads tightly together in a loom. In her hands paint is akin to sculptural material, her paintings easily mistaken for textiles or tapestries. Significantly however, Pierce succeeds in intensely activating both physical presence and optical perception. Shapes twist and refract. Variegated lines waver, bend and warp as we experience anew the parameters of visual perception. Surface pattern recedes in favor of individual form and color; yet overall geometry persists, and we recognize the impossibility of perceiving all patterns at once.

About Paco Pomet:

Born 1970, Granada, Spain
1992 Erasmus Exchange program, Loughborough College of Art & Design, United Kingdom
1993 Fine Arts Degree, University of Granada, Spain
2004 School of Visual Arts, New York, New York
Lives and works in Granada, Spain

"The act of looking causes an excited perplexity in me. I can't get used to anything that I see, and so nothing bores me and nothing entirely convinces me. The manifestation of the visible is renewed every instant, although the appearances and our natural tendency to safety and protection lead us to think that we have found a valid, everlasting formula to interpret the world. It seems that this formula normally dressed as culture is determined to be a sort of armor-plating against something that we are fascinated by and that we fear: change, uncertainty, the unknown, the future. That culture we turn to often operates as a suit of armor, sunglasses, boots, a compass, air-conditioning apparatus or an umbrella and ends up preferring to be a prosthesis that protects us from the rough weather of life's meaninglessness."

About Mark Whalen:

Born 1982, Sydney, Australia
2003 Diploma of Graphic Design, Martin College, Sydney, Australia
Lives and works in Los Angeles, California

Mark Whalen is an Australian-born, Los Angeles-based, artist. Whalen expresses satirical social narratives in seemingly universal situations. The most recent series of sculptural works continues his study into the complexities of displacement and positioning that we, as both individuals and a species, experience through our evolutionary trajectory. Construction netting captures, cordons and compartmentalizes our distinctive characteristics as they shift under the weight of societal pressure through this ever-changing global economy.

About John Wigmore:

Born 1970, Los Angeles, California
1993 Bachelor of Arts in Art Studio, UCSC, Santa Cruz, California
Lives and works in Los Angeles, California

John Wigmore is a lighting designer and artist whose work combines elements of sculpture, painting, and installation. Influenced by Minimalism and the Light and Space Movement in Los Angeles in the 1960s and '70s, and working primarily with wood, Japanese paper, and incandescent light, he began making light sculptures in New York City in 1993. Since then he has worked closely with established architects, designers, and a large number of individual patrons, in creating works of art that enhance both the visual and experiential quality of the spaces they inhabit. About his work, John says, "I would like the ethereal quality of my light sculptures to unite the space between object, architecture and viewer, offering an experience that is both visually compelling and contemplative in nature. Ideally, my pieces create a comforting space within which one can pause, come back to oneself, perhaps experience a moment of clarity. Although it is not always obvious, all of my sculptures reflect my feeling for landscape and the sea. Growing up near the beach in Santa Monica, I have always found the ocean to offer solace, health and clarity. The horizon line particularly captivates meits changeable nature and, particularly, its visual indeterminacy, simultaneously suggesting and flattening perspective. My first artistic efforts were landscape paintings done in Santa Cruz, and I am aware that my long exposure to compelling natural environments has deeply affected my art. Ultimately, I have found the reduction of nature to the simplest of forms to be the most powerful means of expression."

About Dustin Yellin:

Born 1975, Los Angeles, California
Lives and works in Brooklyn, New York

Dustin Yellin's works include paintings, drawings, installation, performance, and sculpture, comprised of clippings from magazines and books, paint and paper. Taken together, his work forms an archive of both gestures and images completely accumulative, yet never totalizing. Yellin archives material/images/gestures by including them in his malleable, shifting subjects, redefining what is "important" (what is thought to somehow define the subject) by including images of all kinds: sports stars, works of art, domestic objects, plants, animals. There is no privilege conferred on one image over another. Rather, they are set into place by an internal logic to each piece that dictates that all images are somehow related within his fragmentary, distended figures.

For Yellin's newest series, Antenna, he pares his practice down to an elegant elongated dimension. Stretched slightly more than a 3-to-1 ratio, the exquisite result of these formal constraints feels almost precarious atop thin steel stands, giving even more emphasis to their vertical nature. Yellin's antennas occupy the space between object and optical subject more than any of his previous paintings and collage work in glass. The alchemical process of Yellin's work, the immortalization of ephemera into abstract objects and creatures, resonates spiritually with our contemporary culture. The conversation between the scrap and marks - the recontextualized clippings - focuses the viewer's attention as sort of art appreciating spiritual anthropologist, examining microscopic slide details bound visibly within the sculptures.  


Artist: Dustin Yellin, Title: Gulf Crossing, 2008 - click for larger image
Corey Arnold  Gulf Crossing, 2008 
30 x 40 Inches  , C-print  Sold

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