Latent Community: NEROMANNA



December 3, 2022 through February 12, 2023

Opening Reception: Saturday, December 3 from 7-10PM

Latent Community’s video work NEROMANNA (2017) focuses on the story of Kallio, a village in Fokida, Greece, whose inhabitants were evicted in 1969 and later flooded in 1981, being left submerged in an artificial lake. The flooding occurred as a result of the construction of the Mornos dam, to be used as a water reservoir for the city of Athens, Greece.

The aim of the project is to present the story of Kallio and to briefly reconstitute its lost community, through underwater footage of the sunken village combined with the voices of its former inhabitants, who speak of their eviction and relocation.

The whole video work is an attempt to bring to the fore the latent conflicts between the natural and the artificial, between the metropolis and the periphery, and between dominant narratives and counter-stories. In NEROMANNA, the ruins of Kallio emerge with the lowering of water levels every once in a while during times of drought, a reminder of the power of water and its politics, as well as the consequences of its control through large-scale engineering projects on human life.


Latent Community is the interdisciplinary artist duo by Sotiris Tsiganos (1992) and Ionian Bisai (1992) working in research-based projects. Their practice intertwines fieldwork and moving image focusing on social and ecological injustice. Laboring in the age of augmented realities, the artist duo weaves social engagement and critique through participatory strategies and performative sequences, resulting in hybrid film productions – remixing documentary, fiction and archive.

Their work has been presented internationally in exhibitions and festivals (Athens Biennale, Documenta14 – Public Programs, Thessaloniki Documentary Festival, School of Waters – Mediterranea 19 Young Artists Biennale, Athens International Film Festival, Recontemporary – Turin), they’ve been awarded by LOOP Barcelona, Sharjah Art Foundation, SNF ARTWORKS and they were residents at ONASSIS AiR – The School of Infinite Rehearsals. They are participants of the 23rd Biennale of Sydney (2022) – rīvus and are just concluding their time as artists-in-residence at Bemis Center for Contemporary Arts.

Christopher Wormald: YOU + A.I. = A.I.M.


YOU + A.I. = A.I.M.

November 5, 2022 through May 14, 2023

Opening Reception: Saturday, November 5 from 7-10PM

YOU + A.I. = A.I.M. delves into humanity’s relationship to technology and its revolutionary, mundane, or destructive impact on the world.  This project is an ever-expanding series depicting past, present, and future imagined scenarios through the lens of A.I.-generated images.  Portrayed are visions of utopia and dystopia: a future in which humans no longer struggle or are replaced and made irrelevant.  For this installation, artist Christopher Wormald uses A.I.-generated images created by feeding descriptive text prompts into a computer program – a new medium that can create original images as quickly as ideas are conceived.  The resulting images range from the uncanny to the hyper-realistic or even comically absurd.

Wormald’s initial concept is inspired by artist Jason Allen, who won the blue-ribbon prize in the digital arts category at the 2022 Colorado State Fair with his A.I. generated artwork, Théâtre D’opéra Spatial.  The news around Jason Allen’s winning artwork has sparked debate and controversy on whether the use of A.I. in art is a hack or a shortcut – bringing into question A.I.’s impact on the future careers of graphic designers and others in the creative industry.  The Arts have seen the implications of technologies in the past, from the printing press, camera, synthesizer, and more, with mixed results of success and failure.  In YOU + A.I. = A.I.M., Christopher questions how individuals can use technologies responsibly and considers his role as an artist moving forward. 


Christopher Wormald is a LA-based multidisciplinary artist.  He studied photography at OCC and earned a BFA in sculpture at Cal State Long Beach.  His practice is often centered around the process and technological limitations of digital mediums, working through analog and digital photographic processes, mold-making, installation, video, and sound.  From 2013-2017, Christopher wrote and performed as one-half of the electronic music duo, Intimatchine.  Their live musical performances incorporated Christopher’s experimental visual aesthetic and technological knowledge.  Intimatchine performed a live ASMR version of their set inside Cocky Eek’s inflatable pavilion, Sphaerae, at the Pasadena AXS Festival in 2014.  In 2018, Christopher was artist-in-residence at Grand Central Art Center, where he experimented with live musical improvisations on a modular synthesizer within a multimedia sculptural installation and wrote his first solo EP under the moniker Stud Drift.  He lived in Nashville from 2019 – 2022, experiencing the tragic March 3, 2020, tornado and creating the installation, A Year After the Storm, at the Bordeaux Branch Library that artistically documented the tornado’s path precisely one year later.  In the summer of 2022, Christopher returned to Southern California, where he resides today.

Ceramics and Glass: Show and Sale

A long-standing tradition at Grand Central Art Center, the annual ceramics and glass show and sale provides an opportunity to see and purchase quality works by regional artists. 

Artists included in this year’s show include Emily Brasch, Jose Flores Nava, David Gutierrez, Philip Kupferschmidt, Destiny Martindill, Nathan Olvera, Michael Penilla, Karen Thayer, Deshon Tyau, and Jordan Young.

Joshua Michele Ross; Seance to Summon a Garden

Artist Joshua Michele Ross in foreground facing camera, behind him a desk with computer and sound equipment.


Seance to Summon a Garden


Research and development of a new, site-specific participatory event

Sound Artist Joshua Michele Ross continues to advance concepts begun in his GCAC artist-in-residence pandemic period project, The Adjacent Possible

In his new work, Seance to Summon a Garden, Ross has gathered extensive field recordings from Descanso Gardens in Southern California. These sounds, the pulse of a hummingbird’s wing, the calls of a yellow-headed blackbird, woodpeckers nesting, a plane flying overhead, and sprinklers at dawn, have been assembled into a series of independent, musical clips that participants can play in magical, unique combinations.  

Using wireless headphones for an immersive experience, Ross plays the role of a medium, guiding participants to channel their garden “instrument.” Together, they enter “the realm of sonorous being,” where participants rehearse and perform a piece of garden music. Each performance will be recorded and published, creating a collaged, sonic portrait of Southern California ecology. 

Seance to Summon a Garden explores the reparative power of sound, memory, and ecology. The experience is one part old-time radio drama,65e one part guided meditation, and one part high-tech improvisatory orchestra.


Joshua-Michele Ross is a performance and sound artist whose work centers on time, memory, and the restorative power of listening. He splits his time between Oakland, California and New York City. 

Mariangeles Soto-Diaz: Gentle Prowess Deliberations

LED light string hanging in fluid like motion on a black wall, with black, red, blue and gray matts on floor
September 3, 2022 – January 15, 2023
a socially engaged artist-in-residence project

Performance: 7:30pm, Saturday, December 10th, 2022

Part of Mariangeles Soto-Diaz’s ongoing artist residency at Grand Central Arts Center (GCAC) in Santa Ana, CA, Gentle Prowess Deliberations is the third project in a series in which the artist incorporate judo principles and elements into art objects, installations, performances and social practice with her judo community. This project focuses on ju, or gentle, one of the core concepts of judo.  The work also grapples with the ongoing reality of violence, including the violence that has led to over six million people leaving the artists native country of Venezuela in recent years. How does one practice ju in a world shaped by oppressive violence?

While growing up in Venezuela, Soto-Dia’s judo teachers were intent on transmitting judo’s international sensibility as intertwined with its pacifist ethos, a key principle articulated by judo founder Jigoro Kano. Through these early experiences, Mariangeles was able to begin the philosophical and rhetorical quest into what this might mean as one confronts a powerful opponent, institution, or system.
For this project,the artist approaches ju in several ways. She asked judo colleagues and teachers from two different dojos, Bunasawakai and Sawtelle, to characterize ju in their own words, and then incorporated their answers into aspects of the performance and installation. She weaves into the performance movements from a choreographed judo form that centers around ju, called ju-no-kata, performed here by US National champions Lee Pasteris and Frederick Dagdagan. Soto-Diaz incorporates judo movements performed by two of her sensei, grand master Sensei Nori Bunasawa and Sensei Goya. In addition to these four highly ranked master judokas, the artist is collaborating in the performance with dancer, choreographer and UCI professor Charlotte Griffin and art performer Christina Segovia. The evening will include field recordings from judo competitions at the Kodokan Judo Institute in Tokyo as well as the US, with live and processed sound in collaboration with musician Michael Dessen.
Performance will take place within the installation of art objects that has created in the Project Gallery of GCAC, 

Mariangeles Soto-Diaz [US/VE] began her art and judo studies in her native Venezuela, the once-promising oil-and-abstraction-producing nation that has become one of the most unstable and violent countries in the world. In her recent work, Soto-Diaz has merged her judo and creative practices to explore the dynamics of power and vulnerability. Moving across traditional art categories, she creates multilayered projects that are at once political and personal, with a nomadic conceptual practice based on relational self-determination.

Soto-Diaz’s work has been exhibited at the Orange County Museum of Art, the SUR:Biennial, the Everywoman’s Biennial (London/NY), 18th Street Art Center, MAK Center for Art and Architecture, MASS MoCA, El Museo del Barrio in NYC, the Stanley Museum, the Fullerton Museum of Art, and the Wignall Museum, among other venues. She began her art studies at the Federico Brandt School of Art in Caracas, and holds a BA in Psychology and Art from Hampshire College, an MA from the California Institute of the Arts and an MFA from Claremont Graduate University. When not in lockdown, she trains at Bunasawa’s Dojo in Costa Mesa and at the Kodokan Judo Institute in Tokyo.

LaRissa Rogers: We’ve Always Been Here, Like Hydrogen, Like Oxygen

two screens of video in background, one on left includes close up image of a face and the image on the right includes a landscape with green grassy field and blue sky.  In foreground are palettes with a stack of oranges on top.

LaRissa Rogers

We’ve Always Been Here, Like Hydrogen, Like Oxygen 

Double channel video // 7min 22sec // 2020

Artist LaRissa Rogers washes her body as a ritual of labor and self-care. She does this on the Richmond Slave Trail and the African Burial Ground in Richmond, VA, and places her body in these locations to comment on notions of safety within public and private spheres. The spaces in which Black people and their bodies should be safe and cared for yet are vulnerable and exposed. The use of oranges stems from the Latasha Harlins Murder of ‘92 but becomes a metaphor for talking about the erasure of women of color throughout time and space.She washes her body with oranges and oranges cast from orange juice on one screen, while slowly caressing and subsequently melting a frozen orange on the other. The text alternates on both screens, one side speaking to the physical and psychological repercussions of white supremacy and the other reflecting upon the need for love, safety, and restoration to expand the spaces and possibilities for black people to exist without being under a constant state of threat.

The artist is interested in the relationship between survival and self-care.  During the repetition of washing herself on the slave trail, the oranges and landscape become implicated in the ritual of memory, commemoration, identity, and self-realization. Commenting on the connectivity of time, and how the past and present exist simultaneously, the performance becomes an act of self-care while imagining a place where Black women and girls are protected and cared for. Washing becomes synonymous with care as a labor of resistance, love, and healing. Bathing her body in oranges attempts to make that invisible labor of self-care more visible as the oranges stain the artists clothes.


LaRissa Rogers (b. 1996) is a visual artist born in Charlottesville, VA. She holds a BFA in Painting and Printmaking and BIS in International Fashion Buying from Virginia Commonwealth University. She has exhibited work and performed in institutions such as ICOSA in Austin TX, Fields Projects in NY, Welcome Gallery in Charlottesville VA, Target Gallery in Alexandria VA, 1708 Gallery in Richmond VA, Second Street Gallery in Charlottesville VA, The Bridge Progressive Arts Initiative in Charlottesville VA, Black Ground in Cali Colombia, W Doha in Qatar, The Fronte Arte Cultura in San Ysidro CA, Frieze Seoul in Korea, Documenta 15 in Kassel Germany, and the Museum of Contemporary Art in Virginia Beach VA. She is the 2021-2022 Visual Arts fellow at the Virginia Museum of Fine Arts, a 2021-2022 Black Spatial Relics artist in residence, and a 2021-2022 grant recipient of the Black Artists and Designers Guild Creative Futures Grant. She is currently pursuing her MFA in New Genres at the University of California Los Angeles and is a 2022 summer artist-in-resident at BEMIS Center of Contemporary Arts.  

Fox Maxy: Maat

Fox Maxy


what does it mean to come from somewhere? 


Fox Maxy is a film director and artist in San Diego of Kumeyaay and Payómkawichum ancestry.  The artist’s work has screened at the Museum of Modern Art’s Doc Fortnight, BAMcinemaFest, LACMA, BlackStar Film Festival, ImagineNative Film Festival, and Rotterdam (IFFR), among other places. In 2022, Fox was named as Sundance Institute’s Merata Mita Fellow, in honor of Merata Mita (Ngāi Te Rangi/Ngāti Pikiao), one of the first Maori women to write and direct a feature film.  Fox Maxy was recently named fellow at the Vera List Center for Art and Politics.