Friday, July 6, 2018


Vita Art Center welcomes the CABADAGRAY Gallery opening July 6, 2018 6-9 p.m.
Located inside of the Vita Art Center at 28 West Main St., Ventura.

Colin Fraser Gray 
Jaqueline Woods
Rafael Perea de la Cabada

Wednesday, April 18, 2018

The Artists of USCB

 Join us for the All Gaucho Reunion first ever reception in celebration of some of UCSB's most distinguished alumni artists. This event is kindly hosted by the Sullivan Goss Gallery in downtown Santa Barbara and includes a drinks reception and remarks from participating artists.

This event supports the Alumni Association Scholarship Fund. Five percent of all sales for the duration of the month-long show will be donated to the Fund, which supports academically outstanding lower-income students. Additional donations to the Alumni Scholarship Fund can be made online.
Please note that tickets are limited and event registration is required.  


About the show:   The exhibition will include a diverse group of artists spanning nearly 40 years, each of whom has made waves in the art world since their time at UCSB. Artists include: Hank Pitcher, John Nava, Richard Schloss, Patricia Chidlaw, Phoebe Brunner, Nicole Strasburg, Maria Rendon, Larry Cohen, Bruce Cohen, Dug Uyesaka, Mary Heebner, Tony Askew, Julika Lackner, Tom Padzerka, Rafael Perea de la Cabada. Artists remarks will begin at 6:15pm.

Monday, February 12, 2018


SYSTEM DISRUPTION that seeks answers in visual art to one of the most important questions of our era – namely, what is the ideal balance between a system
(or pattern) and its disruption?

Sullivan Goss Gallery
Lockwood de Forest, Ann Diener, Jules Engel, Nancy Gifford, Sidney Gordin, Nathan Hayden, Bob Nugent, Rafael Perea de la Cabada, R. Nelson Parrish, Nicole Strasburg, Ethan Turpin.

January 18, 2018 - February 25, 2018
Reception will be 1st Thursday, February 1st

Posted on Jan 31 by SEASONS Magazine

What is the ideal balance between a system and its disruption? How can the eye “know” things about the world before there is any scientific or mathematical explanation? No matter where or when, some system is being “disrupted” by another, resulting in change. Beginning February 1st, Sullivan Goss Gallery (11 E. Anapamu St.) seeks to answer these questions through visual art in a new exhibition, System Disruption.

This show uses some of the best artists’ works to observe how normal individuals might be able to balance the need for order and predictability with the need for invention and transformation.

Starting with the earliest artist in the exhibition, Lockwood de Forest who dated back from 1850-1932, the show observes how this particular artist constituted an art system by working with similar proportions to land, sea and sky. Painting only outdoors, De Forest was pressured to finish his works quickly before the sun set. Since he painted on thick paper, De Forest could not return to his works to turpentine out mistakes. In his case, the “system” was both a format and a process because the repetition allowed him the maximum freedom to develop and refine his subtle coloration and evocative brushwork as he painted all over the world.

Similarly for Nicole Strasburg, her system was also a format and a process which began with her desire to learn how to paint in gouache. Collecting internet-borne weather camera shots, Strasburg made prints of the basic landscape forms and then painted on these prints, recording the changing landscape captured by her camera. Painting in one size and on one medium, Strasburg was able to capture a spectacular amount of variety. Strasburg’s system displays more than enough disruption by capturing climatic and seasonal changes on one spectrum.

This similar format within a constrained process is also practiced by artist Bob Nugent, who draws and paints images of his observations along the Amazon river. Nugent slices large sheets of wood veneer into 3 x 3 inch pieces which are then combined onto panels to create one foot by one foot nature studies. Nugent is not only interested in the connection between how the memory’s filter interacts with the photographic and written experiences, but also the subtle message about the clear cutting of Amazon rain forests and the ever changing shape of the river itself.

On the other hand, the process of scraping layers of wet spray paint was of interest to R. Nelson Parrish, a man who uses art a means of reconciling an ongoing investigation into the subtle contrasts between the natural and man-made conditions and states. Painting numerous wet on wet layers of archival aerosol on cold-pressed Arches paper, Parrish realized the paint would dry too quickly for him to add more detail and began to scrape stripes. Soon enough, Parrish created a symbolic piece of art—the American flag.

Going hand-in-hand with the current political discussions is the “#Metoo Series” by Nancy Gifford. After her famous piece “Lament” became widely exhibited, the artist became a collector of old books. Gifford took the interior texts of these novels, mounted them to birch panels, painted an open ruffle skirt and added legs in different postures.  Gifford’s art displays her idea of the system being designed to disrupt society’s dialogue about certain “types” of girls within communities.

To some artists, such as Rafael Perea de la Cabada, the system is simple, undefined process For Perea de la Canada, art has no defined format and is constantly evolving through a series of counter moves. In his piece, Interferencia (Interference), Perea de la Cabada illustrates a system through its original signal recorded in many layers, drips and drawings, suggesting that his work exists in the presence of disruptions.

As for other artists, systems are best understood as a creative and intuitive practice. Nathan Hayden’s idea of a system is shown in his tiny pictographic ink drawings which are strategically placed around an axial symmetry with notes that he has taken during the moment to help maintain his creative flow. Although creative disruptions are integrated throughout the process, the transformations from one form to the next keep his system evolving.

At the high point of the Modernist movement in the mid-century, humanity and gumption collided with geometric abstraction when two west and east coast artists worked to bring distraction to the system. Jules Engel (1915-2003) of Los Angeles and Sidney Gordin (1918-1996) of New York worked with and against “the grid,” pushing formal boundaries to see what was possible.

Collisions also occur in Ann Diener’s drawing and collage of the system of time, immigration, development and decay. Illustrating how places can be molded by disruptive forces, Deiner added digital photography and swirled compositions of familiar images in a process of “over-drawing” to describe her idea of the system.

Artist Ethan Turpin created a “Video Organism” piece, which reflected his idea of a system that feeds and evolves on its disruptions. In this piece, organic geometries grow from his two-camera setup and uses its output as an input to evolve new designs. Turpin’s idea was to allow the public to interact, and further “disrupt” the system, but the system would only adopt those disruptions and evolve.

This exhibition was originally scheduled to open on the 1st Thursday in January. Ironically, the Thomas Fire disrupted the Gallery’s usual system.

The exhibition opening reception is Thursday, February 1 from 5-8 p.m, at the Sullivan Goss Gallery and remains on view through February 25.

Sunday, December 24, 2017

Lotería Celebration at Eastside Library

This Saturday, December 9, the Eastside Library will be having an all-day Lotería celebration. Lotería is a game of chance, a pastime, and even an educational tool. Because Lotería cards include the name of the pictured character, they are used to teach reading, writing, history, and social values. Join the Library for a day of activities celebrating the history, culture and art of Lotería.
Teens and adults are invited to the opening Lotería workshop from 9-11:30am, at which participants are invited to create their own interpretations of cards from the popular Mexican game. Under the supervision of renowned Professor and Artist Rafael Perea de la Cabada, participants will explore Lotería images created by a variety of artists and work with drawing, painting and collage. Materials will be provided at no cost. Space is limited and registration is required.

Noon to 4:00pm Saturday will be opening receptions for two art shows, Nuestra Lotería and Mi Cartas de Lotería. Nuestra Lotería is an exhibit of artwork created by participants in Alpha Resource Center’s SlingShot program. SlingShot is a working art studio and gallery which supports Santa Barbara artists with developmental disabilities. Nuestra Lotería features the work of eight talented artists and their renditions of classic Lotería iconography. Featured artists are: Maria Arroyo, Marc Sucher, Dylan Long, Rachel MacKenzie, Jane Hollick, Jeff Working, Ben Watts, Megan Isaac.

Mi Cartas de Lotería is a show of Maribel Hernández’s work that speaks to her passion for life, with its various rhythms and emotional landscapes. Hernández was born in Michoacan, Mexico and her work ranges from design, photography, ceramics, and painting.

At noon, attendees will be surprised to learn the complex and fascinating history behind Mexican bingo presented by Santa Barbara City College Professor Alfredo González. Born and raised in Cuernavaca, Morelos (Mexico), González completed his BA in Latin-American Literature and History with an emphasis in Linguistics, in the city of Puebla, Puebla (Mexico). Come learn about Lotería and its long history, uses, and meaning in Mexican culture.

Throughout the day all are invited to play a round (or two! or three!) of Lotería, win prizes, and enjoy pan dulce and hot chocolate. Join the Santa Barbara Public Library in this celebration of Lotería.

This project was made possible with support from California Humanities, a non-profit partner of the National Endowment for the Humanities. Visit

Visit the Santa Barbara Public Library System online at for information about library hours, locations, programs and services. All library programs are free and open to the public.

Contact: Jen Lemberger, Programming & Marketing Librarian

Friday, September 15, 2017

Ayer y Todavía

Ayer y Todavía
Museum of Ventura County
September 15-November 26, 2017
Opening Reception
6 – 9 P.M.
September 15, 2017

Presented in conjunction with Pacific Standard Time: LA/LA Latin American & Latino Art in LA, an initiative of the Getty

Experience Chicano culture and history, as well as current struggles and social issues, as seen through the eyes of Chicano artists in Ayer y Todavía, opening Friday, Sept. 15 with an evening of art and music, 6 to 9 p.m. at the Museum of Ventura County, 100 E. Main Street, Ventura.

Enjoy live music provided by Los Fabulocos Band, and a chance to visit with the artists and the collectors who helped shape this unique Chicano exhibit. Featured artists include: Margaret Garcia, Frank Romero, Leo Limón, Salomon Huerta, Jack Vargas, Harry Gamboa, Diane Gamboa, Ignacio Gomez , Rafael Perea de la Cabada and Patssi Valdez among others.

Presented in conjunction with Pacific Standard Time: LA/LA Latin American & Latino Art in LA, an initiative of the Getty, the opening reception will include a no-host bar and hors-d’oeuvres. Members are free; non-members are $5. The exhibit will be on view through November 26.

Exhibit and event are sponsored by the Port of Hueneme, Clinicas del Camino Real, Inc. and Santa Paula Latino Town Hall. Major funding for this program is made possible in part by the City of San Buenaventura and the County of Ventura. Special thanks to the MVC Latino Advisory Committee.

Tuesday, August 29, 2017


Rafael Perea de la Cabada Presents Mixed Media Work in
“Los Amorosos” (The Lovers)
at The Museum of Ventura County’s Tool Room Gallery

Ventura, CA – In the spirit of The Getty’s Pacific Standard Time initiative, renowned visual artist Rafael Perea de la Cabada will present a new body of work that explores the subject of human touch: physical, spiritual, social, and psychological. “Los Amorosos” (The Lovers), features painting, mixed media on paper, prints, and ceramic objects and opens with a public reception on Friday, September 1st from 6 to 9 pm at The Museum of Ventura County’s Tool Room Gallery at the BellArts Factory at 432 N. Ventura Ave., Ventura, CA.

“We live to relate and we relate to live,” says Cabada, “In this time of persistent unrest, we are reminded through the artist’s work, of the power of connection and relationship; to ourselves and to each other.”

When commenting on Perea’s art, Charles Donavan of the Santa Barbara Independent said, “The new Westmont Ridley-Tree Museum of Art …could not ask for a better introduction to its potential than the Rafael Perea de la Cabada show Alien Heartland. Cabada’s bold, imaginative work in multiple media has never looked better, or more complete, than it does in this handsome room…Cabada is a central figure in our art community here in Santa Barbara, and his is a story and an oeuvre that we should all both know and celebrate”.

Award-winning artist Rafael Perea de la Cabada was born in Mexico City and has lived and worked in Santa Barbara and Ventura, CA since 1987. Perea received a degree from the National School of Painting, Sculpture and Printmaking in Mexico City and went on to earn his M.F.A. from the University of California, Santa Barbara.  He has exhibited at many galleries and museums in Southern California including the Santa Barbara Museum of Art, the Contemporary Arts Forum, The Armory Center for the Arts in Pasadena, and the Hunsaker-Schlesinger Gallery in Santa Monica.  He has also shown in New York, Washington, Tennessee, Texas, Mexico, Puerto Rico, Cuba, Croatia, Spain, and Germany. His work is included in numerous public and private collections in Mexico, Switzerland, France, Germany, and the United States.

Rafael teaches Painting and Drawing in the Fine Arts Department at Santa Barbara City College and has served as a Master Artist for mentorship programs, master classes, and mural projects for both the Santa Barbara Museum of Art and The Arts Fund.  He recently had a solo exhibition, “Mexico Para Armar,” at UNAM in Mexico City, completed an important Public Art Commission with designer Richard Irvine on the West Beach Pedestrian Improvement Project for the City of Santa Barbara, and served as the Founding Art Director for The Animal Museum Los Angeles. To learn more visit:

The Getty’s Pacific Standard Time is a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles. Led by the Getty, Pacific Standard Time: LA/LA is the latest collaborative effort from arts institutions across Southern California. As a Mexican national who has spent equal amounts of time living in the United States, Perea brings a unique perspective to this conversation of art, identity, and what it means to be human in this current exhibition, “Los Amorosos” (The Lovers).