- 1Sitting, 2021
oil on linen
48 x 68 inches

JANUARY 16 – FEBRUARY 27, 2022

Order seems to come from searching for disorder, and awkwardness from searching for harmony or likeness, or the following of a system. The truest order is what you already find there, or that will be given if you don’t try for it. When you arrange, you fail.

The profoundest order is revealed in what is most casual.

– Fairfield Porter

January 10th, 2022

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Hydroplaning / Lights Off / Psilocybin Stems, 2021
acrylic paint, gouache, watercolor and pencil
40 x 36 inches

South Willard is pleased to present new paintings by Christopher Garrett. This will be his first exhibition in Los Ángeles.

A 180 minute mix tape compilation made up of 1983 – 1988 California new age and composer cassettes will be playing for the duration of the opening made by @kyepotter

Free Poster for first 100 visitors


November 20 , 2021 –
January 9, 2022

January 10th, 2022

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South Willard is pleased to present Christian Vargas’ first solo exhibition in Los Angeles.
Christian Vargas’ vessels, scepters and busts are embedded with memories of assimilation, deeply influenced by being a first generation Mexican-American and a child of farm laborers in the San Joaquin Valley of California. He repurposes and reinterprets existing and found objects, creating layers of meaning and symbolism. Religious icons, pop culture knick-knacks, and childhood superhero figures are all given equal consideration as objects of value. The way in which Vargas places objects together and collages ephemera is deeply connected to his mother’s non-hierarchical home altar aesthetic. A religious icon can be placed next to a toy — both having a place due to their personal importance and the memories they evoke. His collaging of objects also derives from a place of necessity, resourcefulness and ingenuity — rooted in his father’s creation of utilitarian tools made of scrap metal and discarded objects. When layered with humor, Vargas’ sculptures turn into cultural oddities that transition between identities — becoming a reflection of his bi-cultural relationship to objects.

The exhibition will run from
August 14 through September 26, 2021

January 10th, 2022

- 1

I am afraid that you are mistaken in the matter of my tails for I have never worn less than two or more than twenty-four at the one time and together, notwithstanding anything I have confided in you this fine morning.
Your personal difficulty will be resolved when I tell you that my second-best day-shirt is fitted with two tails, the one longer than the other, thus enabling me to intermix the physical comfort of two shirts on a cold day with the ceremonial probity of four tails about my bottom (the four of them moving in unison in my trousers when I waggle my hair-tail).
I never permit myself to forget that truth is an odd number and that my own personal numerals, the first and the last and all intermediaries, are inevitably even.
I have frequently missed these small things which are necessitous to personal comfort-my glasses and the black glove I use for moving the hob when it is hot, these are two examples.
It is not impossible that my kangaroo has hidden them in her pouch, for by the hoke there was never a child there.

– Flann O’Brien, “At Swim-Two-Birds” (1939)

January 10th, 2022


South Willard is pleased to present an exhibition by Roger Herman.

Slab rolled ceramic tables painted with glaze are placed throughout the space at various heights

Two large oil paintings titled The Ocean (1979) surround the tables on the walls.

Opens Saturday, April 17 through June 7, 2021

April 16th, 2021
JP MUNRO | FEB 13 – APRIL 4, 2021

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Flintridge Hilltop, 2021
Oil on Linen
11 X 14 inch

JP MUNRO FEB 13 – APRIL 4, 2021 consists of six oil paintings on linen and one oil painting on board.
These pictures are composed of the foothills and mountains surrounding Los Angeles. Dense chaparral shrub forests with oak woodlands, gradually climbing to pine and fir-covered slopes create a habitat unique to Southern California.

JP Munro lives and works in Los Angeles

February 12th, 2021
Downhearted Duckling

Chumash Chair, 2020
Adobe and Acrylic Paint
24 X 34 inches

November 14, 2020 through January 17, 2021

Downhearted Duckling Organized by Ryan Preciado

Diana Yesenia Alvarado, Mario Ayala, rafa esparza, Magdalena Suarez Frimkess, Alfonso Gonzalez Jr.

“Will you eat me Mr. Pussycat, please eat me, I’m serious”
Downhearted Duckling,
(Tom and Jerry), 1954

Downhearted Duckling is a personal offering by Ryan Preciado, inspired by his family history and fueled by an ongoing relationship to the violence of assimilation in the United States.
Through his creative practice, Ryan reconciles the apparent erasure of his Mexican and Chumash identities with the very real power of recovery and return.
While this erasure is evident in the exclusionary nature of the mainstream art world and its associated spaces, this exhibition is a conscious counterpoint, a gathering of artists that have taken unabashed modes of representation, abstraction, and experimentation and placed them at the epicenter of an honest new canon.

– rafa esparza

Throughout my life I have been culturally trying to piece myself together.
I would like to give the opportunity for others to explore themselves as I have through these artists .
To be proud of who they are.

– Ryan Preciado

November 22nd, 2020

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Drink, 2020
Oil on board mounted to linen
11 3/4 X 11 inches


September 1 through October 15, 2020

Questions from Daisy Sheff
August 2020

In our Graphite Journal chat, you said you were interested in “families.” Does having a daughter change your practice/subject matter? Is that sweet Norma in Drink?

Yes, that’s Norma in Drink. She was holding a cup whilst watching a tv show and she let it balance on her nose. This gave me enough time to draw her. I never set out to make a drawing. I draw when there’s time to draw, when everyone is preoccupied, when I’m not needed for anything. The drawings I get most attached to and take to the studio seem to happen when I feel fortunate and quite literally happy.

Although the faces aren’t defined, I have the feeling that these are of specific individuals/actual events— is this true?

The paintings are very accurate to me in their description. I think the definition of a person comes from their whole body, not their face. I think likeness begins with posture, which is formed out of personal gestures––how a person sits on a chair, the shape of their elbow or shoulder in repose.

They have such specificity while relying on color blocks- could be called “abstraction.”

Yes, the paintings have ended up here. I am sensitive to what can’t happen in terms of illusion and these color blocks are what get left. There are a lot of changes that take place in these paintings. A sort of timeline is evident in their textures, edges, and underpainting. The process is technically illogical in terms of the craft of painting. They are quite clumsy.

South Willard will re open regular hours 12 – 5 Friday, Saturday, and Sunday
as of September 4.
Also by appointment 323 683 1376

September 1st, 2020


Opening Reception: SATURDAY
March 7, 2020
3:30 – 5 PM

This exhibition of Magdalena Suarez Frimkess will include stoneware and drawings.
Entryway, which is comprised of 79 stoneware tiles will also be exhibited. This was the entryway to Michael and Magdalenas home for over twenty years. The stoneware tiles edges are exposed and exhibited in the exact arrangement as their home. Magdalena built Entryway over a 9 year period from 1990 to 1999

Magdalena will be in attendance Saturday

Entryway, 1990 – 1999
Stoneware and Glaze
40 3/4 x 44 3/4 inches (79 individual tiles)

March 6th, 2020

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Nina De Creeft Ward
Challenger, 2013
Ceramic and Glaze
17 X 12 inches

South Willard is pleased to announce an exhibition of ceramics by Nina De Creeft Ward titled Animal Ties
The exhibition will run from January 5 though February 10, 2020
There will be an opening reception Sunday, January 5 from 3 to 5 pm.

Nina De Creeft Ward grew up in Ojai and Santa Barbara, California in the 1940’s and 50’s.
De Creeft got her first horse when she was 12. She grew up caring for horses, goats and a variety of other animals, as well as being surrounded by the animals indigenous to California. Animals have always been the primary focus in her work and have been the constant thread throughout. Her parents Alice and Jose De Creeft were both artists and Nina never considered being anything other than an artist. In 1956 De Creeft went to Scripps Colege under Paul Soldner and learned to Raku-fire her work, a method she uses to this day. She completed her MFA in sculpture from Claremont in 1964.

De Creeft Ward currently lives and works in Santa Barbara and continues to build ceramic works of the animals she loves. Her most recent works have been ceramic reliefs of coyotes and deer in their native habitat in the Santa Ynez Mountains in Santa Barbara.
Nina De Creeft Ward was featured in a retrospective at the Beatrice Wood Center in Ojai, California and is included in Primal Nature: Animalia by Women in Post-War Claremont, curated by Susan M. Anderson at the Claremont Museum of Art.

January 1st, 2020

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Ihlongozo, 2019
Stoneware and Glaze
31 X 16 X 16 inches



Opening Reception: Sunday, November 10. 3 – 5 PM


November 7th, 2019

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An Exhibition of Paintings

Opening Reception: Sunday, September 22, 4-6 pm
Through November 3, 2019

“to look at it is more
than it was.”

Extract from Robert Creeley “The Immoral Proposition ”

September 18th, 2019



Opening Reception: Sunday, July 21
4 – 6 PM

In celebration of Magdalena Suarez Frimkess’s 90th birthday South Willard will have an exhibition of solo works made in the last year. Collaborative pots made with her husband Michael Frimkess will also be on view An 88 page monograph will be released on Magdalena through South Willard Press as well as an etching made with Jacob Samuel.

Magdalena Suarez Frimkess
Minnie and Mickey Creamer, 2019
Stoneware and Glaze
4 1/2 X 7 1/2 inches

South Willard will be open by appointment only until Magdalena’s opening July 21

July 13th, 2019

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2 (1)
Andes Royal Mail Line, 2018
Ceramic, Glaze, Wire, Wood
20 X 12 1/2 X 8 inches

Opening Reception: Sunday June 2, 4-6 PM
June 2 through July 10, 2019

May 30th, 2019
Elisabeth Kley and Sanou Oumar

Screen Shot 2019-04-13 at 3.37.35 PM

Elisabeth Kley and Sanou Oumar
Organized by Matt Connors

April 14 through May 26, 2019
Opening Reception: Sunday, April 14. 4-6 PM

South Willard is pleased to present an exhibition of work by Elisabeth Kley and Sanou

Rules can be liberating, a set of limits within which to create. Establishing clear conditions
within their artistic practices, Elisabeth Kley and Sanou Oumar work with self-imposed
restriction in order to build a space for the spontaneous and imaginative to find a platform for
display. Both artists build their artistic languages from something found; for Kley, her research
into historic ornamentation, for Oumar, the found objects he traces in his drawings. This
restriction creates a meditative textural repetition in which moments of disruption intervene to
inform the formal with the personal, the structural with the expressive.

Sanou Oumar’s drawings are built from his set of drawing tools collected from daily life in New
York. Popsicle sticks, washers, a plastic floss pick become simple shapes, circles, lines, curves,
edges, as Oumar traces and rearranges these essential elements into a staggering variety of
compositions. While the shapes originate in found objects, the compositions are deeply
personal. Oumar came to the US recently as an asylum-seeker from Burkina Faso, hoping to
pursue his dream of becoming an architect. The drawings, reminiscent of mandalas, contain
memories, stories and influences from Oumar’s life. One drawing might be imbued with
Oumar’s late mother’s presence, while another, an interpretation of the suspension cables of
the Brooklyn Bridge.

Elisabeth Kley’s ceramic vessels and drawings operate within a limited palette of white, blues
and blacks. Informed by her research into European, Islamic, Byzantine and Asian historic
ornamentation; the motifs on the pieces are powerful, carrying the exotic sensuousness of this
history of visual pleasure. Reflecting Kley’s personal inquiry into desire and the decorative, the
colors, patterns and forms become elements to reorganize and recombine. Through this form
of play, new avenues of enjoyment emerge within this ancient vocabulary.

-Marina Caron

April 12th, 2019
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