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Please join us Saturday, May 30 for a conversation with William Camargo, Jackie Castillo & Alexa Ramírez Posada. The talk begins at 11:00 am. Coffee & donuts will be served.⁠
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In conjunction with the closing reception of William Camargo: All That I Can Carry, please join artists William Camargo, Jackie Castillo, and Alexa Ramírez Posada for a special panel discussion exploring the role of place in contemporary artistic practice, Latinx photography, sculpture and installation, the labor of making, and what it means to create work beyond the boundaries of home. Through conversation, the artists will reflect on memory, migration, materiality, and the personal and cultural landscapes that shape their work.⁠
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🎤 Artist Talk / Place & Practice⁠
🗓️ Saturday, May 30 at 11:00 AM⁠
📍 5613 San Vicente Boulevard, Los Angeles, CA 90019⁠
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Space is limited to 30 Guests.⁠
👉 RSVP to reserve your spot.
📧hannah@hannahsloan.com

@billythecamera @caminadas @arxmirez

I read Aleina Edward’s piece “Art as Memorial in Lotusland” a few times this past week and kept returning to the idea that when we experience something unthinkable, like death arriving or violent disappearance before there is time to grieve, art can sometimes give form to what otherwise feels impossible to hold alone.

I’m grateful for the care of her writing, our conversation, and for the way she connected with our artwork through such a personal register that, in my practice, has been there all along.

If you have a chance, I really encourage reading “Art as Memorial in Lotusland”, in Issue 43 of @contemporaryartreview.la by @aleinaedwards

I read Aleina Edward’s piece “Art as Memorial in Lotusland” a few times this past week and kept returning to the idea that when we experience something unthinkable, like death arriving or violent disappearance before there is time to grieve, art can sometimes give form to what otherwise feels impossible to hold alone.

I’m grateful for the care of her writing, our conversation, and for the way she connected with our artwork through such a personal register that, in my practice, has been there all along.

If you have a chance, I really encourage reading “Art as Memorial in Lotusland”, in Issue 43 of @contemporaryartreview.la by @aleinaedwards

I read Aleina Edward’s piece “Art as Memorial in Lotusland” a few times this past week and kept returning to the idea that when we experience something unthinkable, like death arriving or violent disappearance before there is time to grieve, art can sometimes give form to what otherwise feels impossible to hold alone.

I’m grateful for the care of her writing, our conversation, and for the way she connected with our artwork through such a personal register that, in my practice, has been there all along.

If you have a chance, I really encourage reading “Art as Memorial in Lotusland”, in Issue 43 of @contemporaryartreview.la by @aleinaedwards

I read Aleina Edward’s piece “Art as Memorial in Lotusland” a few times this past week and kept returning to the idea that when we experience something unthinkable, like death arriving or violent disappearance before there is time to grieve, art can sometimes give form to what otherwise feels impossible to hold alone.

I’m grateful for the care of her writing, our conversation, and for the way she connected with our artwork through such a personal register that, in my practice, has been there all along.

If you have a chance, I really encourage reading “Art as Memorial in Lotusland”, in Issue 43 of @contemporaryartreview.la by @aleinaedwards

I read Aleina Edward’s piece “Art as Memorial in Lotusland” a few times this past week and kept returning to the idea that when we experience something unthinkable, like death arriving or violent disappearance before there is time to grieve, art can sometimes give form to what otherwise feels impossible to hold alone.

I’m grateful for the care of her writing, our conversation, and for the way she connected with our artwork through such a personal register that, in my practice, has been there all along.

If you have a chance, I really encourage reading “Art as Memorial in Lotusland”, in Issue 43 of @contemporaryartreview.la by @aleinaedwards

SAVE THE DATE for our next exhibit @sdmesacollege_gallery

We are excited preparing for our next exhibit featuring two amazing photographers!!!

Cartographies of Loss: Parallel Cities/ Monica Arreola and Jackie Castillo

@monica_arreola__and @caminadas

Exhibit on view March 23 – April 25, 2026.

Join us for the reception on Wednesday, March 25, 4 – 7 PM

San Diego Mesa College, FA-103, 7250 Mesa College Dr. San Diego, CA 92111

FREE AND OPEN TO THE PUBLIC.
Free Parking during receptions in Lot # 1. Park in STAFF spaces ONLY

The photo-based works in the exhibition "Cartographies of Loss: Parallel Cities," examine the history of urban development in Southern California. Working in Los Angeles, Jackie Castillo investigates the relationships between city infrastructure, collective memory and the isolation and anxiety felt by the working class. She documents architectural remnants thar reveal the ways that place, labor, memories and identify become fractured over time.

Monica Arreola approaches similar concerns from the perspective of her hometown, Tijuana. Trained as an architect, she photographs urban developments abandoned mid-construction, revealing the effects of the 2008 United States housing market crash and the financial crisis that reverberated across the border.

We invite you to view this exhibition and join us for a reception on Wednesday, March 25, 4 – 7 pm. Meet the artists and enjoy refreshments. There will be an artist talk with Jackie Castillo on Saturday, April 25 at 4:30 pm.

Gallery Hours: Monday through Thursday, 12 – 5 pm, or by appointment.
Closed Fridays and weekends. Closed for Spring Break March 30 – April 3.

Image credit: Monica Arreola, From the series "San Pedro Valley," 2018, digital photography, dimensions vary. Jackie Castillo, "Turning No. 3," 2023, concrete, electrophotographic prints, polyvinyl acetate adhesive, 5' x 7', heights vary

Andrea Núñez @ngandrea, gracias por tu artículo “Paisajes en transformación. La escultura fotográfica de Jackie Castillo” publicado en @bloque_mx.
Es un texto que atiende con tanta claridad y cuidado las preocupaciones en torno a la experiencia migrante y, como bien escribes, “reconocer que estas ciudades fueron levantadas por comunidades latinas es afirmar que también les pertenecen.”

Thank you to curators @claudia_pretelin and @julietapestarino for their support and invitation to create a new work for the upcoming exhibition at the Sturt Haaga Gallery "Natura Naturata" at Descanso Gardens.

Opening:
Saturday, January 24, from 3–5pm
Admission to Descanso is free during the opening reception.

Exhibition dates:
January 24-May 31, 2026

Exhibiting artists:
Luciana Abait @lucianaabait
Laura Aguilar @laura_aguilar_photo
Jackie Castillo
Maru García @marugfe
Graciela Iturbide @gracielaiturbide
Carolina Montejo @caro_montejo_art
Tricia Rainwater @triciarainwaterart
Rosana Schoijett @rosana_schoijett

This diverse body of work delves into themes related to our connection with the environment, as well as complex examinations of human impact on nature.

Natura Naturata and its programs are generously supported, in part, by Perenchio Foundation.

Honored to have the opportunity to bring “Casting” to Santa Monica College as part of the exhibition “Concrete Hope” curated by @curatorlove

Concrete Hope | Esperanza Concreta
Opening: Oct 14, 5-8 PM
Keynote: 3 PM SSC Main Auditorium

Honored to have the opportunity to bring “Casting” to Santa Monica College as part of the exhibition “Concrete Hope” curated by @curatorlove

Concrete Hope | Esperanza Concreta
Opening: Oct 14, 5-8 PM
Keynote: 3 PM SSC Main Auditorium

Honored to have the opportunity to bring “Casting” to Santa Monica College as part of the exhibition “Concrete Hope” curated by @curatorlove

Concrete Hope | Esperanza Concreta
Opening: Oct 14, 5-8 PM
Keynote: 3 PM SSC Main Auditorium

Grateful for the support to bring this work to Orange County where the photograph in this artwork was made.

Congrats Steve Galindo ✨ @thestyleguyde
for bringing these artworks to the @huntingtonbeachartcenter for his first institutional curation.

Thank you to @dnfltz for the work and support to make this exhibition happen.

Opening: September 6, 6:30-9:00pm
Exhibition On View through November 8
Huntington Beach Art Center

Gus Alva
Jackie Amézquita
April Bey
Kyong Boon Oh
Joey Brock
Jackie Castillo
Tracy Emin
Sofia Enriquez
rafa esparza
Rachel Finkelstein
Erik Flores
Kendalle Getty
Cannupa Hanska Luger
Lauren Halsey
Allison Hueman
Chicome Itzcuintli Amatlapalli
Larry Kagan
Vita Kari
Barbara Mendes
noé olivas
Isaac Pelayo
Carlos Ritter
Vinod Sharma
Linda Smith
Sung-Hee Son
Little Ricky
Melly Trochez

Between the laborers whistling to each other to communicate and the shattering of the tiles there was a moment so impactful that time slowed. With years between that moment and now, what does it mean to represent the act of labor in action and its varying levels of destruction and creation, where the falls and rises point to a specific person's body in labor? What is being halted here? Is it the crashing effects of labor on the body? Or is this an acknowledgment and undeniability that a person's labor has dignity, grace, and is worth examining?

“Through the Descent, Like the Return” is on view @theicala through August 31st, 2025.

Thank you to every person who has spent time with the work in any capacity. Thank you for sharing it with your community, students, and friends. Thank you if you’ve carved out time to meet me there and spend time together. Let me know if you still want to meet there this summer 🤍

Thanks for tuning in to my interview on Press Play with Madeline Brand on KCRW. I spent a lot of time sharing the role of my family in the creation of “Through the Descent, Like the Return” to really underscore a different form of mutual labor and support that working class, immigrant families exert to build together, survive, and hold each other and their communities up.

In order to create this explosion in a shingle factory I turned to my family and asked how can we support the chaos of a fall and remain in balance? How do we make something out of nothing? How do we turn a problem in our minds until a solution appears mid-flight? How do we create? How do we endure? How do we make the impossible possible with only what we have?

This photograph is of two rebar towers, or “castillos”made by my Abuelito on the roof of the family home in Guadalajara, Mexico. He made these with his hands against an unreal sky, a vision of ambition and ascension.

Casting, 2025
114.75 x 68 x 7 in

“Casting” sets up the tension between labor and ornament through photographic sculpture. A 35mm black-and-white photograph marked by direct, midday light reveals stilt-like and jagged-edged shadows of roof tiles onto a blazing white stucco wall. The work projects both Spanish Revival and Art Deco, two architectural styles that helped construct Southern California’s regional identity. Promoted by the booming real estate and film industries of early 20th-century Southern California, Spanish Revival lent a sense of romanticized colonial history while Art Deco signaled modernity and progress, yet the streamlined geometry and ornamental motifs are at odds with and grounded in three distinct bricklaying patterns: stretcher bond, herringbone, and stack bond, the inlays of masonry and embodied, working class labor. Beneath aesthetic forms is an architecture that hides yet reveals the sharply embedded violence within our built environment while casting aspersions into the future.

On view @robertsprojects through August 9 as part of the group show ‘Back to Earth’ 🧱

Documentation courtesy of Roberts Projects

Hi friends, would love to see you next week for "Building a City: Labor, Memory, and Those Who Shape It" @theicala

I’m incredibly fortunate to have the perspectives of urban planner @jamestrojas and art historian Nicolas Orozco-Valdivia for this conversation 🤍

Huge thank you @albertokeossian for your work to organize this program and the ICA LA team for their support!

Location:
The Institute of Contemporary Art, Los Angeles
1717 E 7th St, Los Angeles 90021

Thrilled to be exhibiting a new work, “Casting” @robertsprojects Saturday 6/7 ⚔️

Thank you @alexandriaryahl and @clarejoelson for the invitation to be in conversation with such phenomenal artists in a space whose architecture and site informed this piece.

Back To the Earth
Roberts Projects
Opening Reception Saturday, June 7, 5-7pm

Luke Agada, Jackie Amézquita, Miguel Arzabe, Saif Azzuz, Jackie Castillo, Lenz Geerk, Aaron Glasson, Koyoltzintli, Suchitra Mattai, Evan Nesbit, Wendy Red Star and Noah Schneiderman.

Roberts Projects is pleased to present Back To the Earth, a group exhibition of artists whose work emerges from a symbiotic relationship with their environment.

For centuries, human civilization has harnessed the Earth’s natural resources to develop tools, architecture and technology; over time, the environment reclaims and alters these man-made creations through erosion, weathering and other natural phenomena. This cycle of degradation and regeneration transforms the landscape into a new entity, allowing artists to re-envision corroded forms by imbuing them with aesthetic value and philosophical meaning.

Each work in the exhibition offers a unique perspective on this dynamic exchange. Artists that model sustainable methods of production glean their surroundings for materials to create assemblage works with profound epistemic resonance. Paintings and sculptures incorporating handmade dyes, found objects and raw pigments evoke lines, shapes and textures that are found in nature while transcending boundaries between abstraction and surrealism. Other works reflect on how these environmental forces are not merely observed, but internalized—how the land becomes an extension of the self, even as we continue to shape and inhabit it. Environmental phenomena such as sedimentation and seed dispersal parallel Indigenous histories of migration, displacement and assimilation, which are echoed in works made from soil and other organic matter.