Just 14 artists of more than 1,200 applicants were chosen to create art for Metro's Crenshaw/LA transit line that will move through Los Angeles, El Segundo, Inglewood and parts of unincorporated L.A. County.
Born in Camden, N.J., in 1971 and raised in Newark, Thomas was raised by a single mother who worked as a social worker. “A creative and visual person,” Thomas says, her mother loved fashion — she modeled in the 1970s — and had a deep art appreciation that motivated her to enroll Thomas and her brother in after-school art programs.
The women she aspires to capture in her work, she says, are strong yet vulnerable, have prowess, charisma and fortitude. Women that persevere and are strong-willed. Women like her mother. When Rebeca Méndez was 12, her parents gave her a giant wall in their home to paint what she pleased. “The responsibility I felt was enormous, and it was really nerve-racking,” she says.
Born in 1962 and raised in Coyoacán, in southern Mexico City, Méndez spent much of her childhood searching for archaeological sites in the jungles of the Yucatan Peninsula with her family, camping in the wild for up to a month.
“And I went crazy,” she recalls excitedly. “That’s when I thought, ‘I want to be an artist.’” She returned to ArtCenter for an MFA while working full-time as the school’s design director, helping to produce more than 300 projects annually. By the time she graduated, her career was booming.She married in 1985 but divorced four years later and was struck with an acute need to “purify myself,” she says. “I didn’t know how to cleanse myself, so I started looking at how my body cleans itself.
When Méndez was approached to design a couple of art pieces for the future Crenshaw/LAX Line, she was thinking about the transit system as a great “equalizer” and about time. About the way people use subways and rails when they are “rushing from one place to another” and how “most of the time, you go into your work and you don’t come out sometimes until it’s dark.”
Or, as Méndez put it: “No matter who you are, where you live, what is your social strata, you see the same [sky].”Artist Jaime Scholnick in her East L.A. studio. She is among the artists whose work will appear at stations along the Crenshaw/LAX Line, set to open next year. Scholnick’s work begins with photographs taken by Sally Coates between Martin Luther King Jr. Boulevard and Leimert Park Village and capture the dawn to midnight hours of the area.
In a 2015 installation at CB1 Gallery, artist Jaime Scholnick used ink to manipulate photographs of the 2014 Israeli bombings of Gaza, abstracting the images -- and their difficult content -- in the process. Born in Brooklyn, Scholnick moved with her family to California when she was 7. Her father, who worked in aerospace, was offered a job on the West Coast, so they settled in Newport Beach, where she was one of the few brunettes in a sea of blonds, often teased for the way she looked. “I learned early on how awful it was to dislike people based on factors beyond their control.”
Scholnick says her work isn’t easily “salable ... it always has a sort of edge to it ... it has a message and so sometimes people find it disturbing.” An art collector once told her she’d ruin her career with her “doom and gloom work.” Her mural for the Expo/Crenshaw station, however, is less edgy. Not far from the cool of Santa Monica beach is Eileen Cowin’s small studio, where she spends most of her time on photography. Panels of her work reach high against the walls. If there’s an open space, it’s soon filled with photographs.
So naturally, she picked up a camera and started shooting. She fell in love with it. As her work evolved, she began fusing printmaking techniques with photographic images. “Now,” she says, “I have my dream-come-true life” — the ability to dive into what she loves and pay more attention to “the extraordinariness of the ordinary” as she creates narratives from her work.
Only those who look closely will notice that one of the photo’s suited-up subjects stands in certain iconic poses of King.Carlson HattonCarlson Hatton’s parents, both ceramic artists, immersed him in the family trade from a young age. They had the young Hatton help around the art studio, pouring and making molds, and painting cups, vessels and other objects. He learned to draw from his father, from watching TV and from taking any art classes he could.
As an undergraduate, he participated in a foreign exchange program in Holland before briefly attending art school in Amsterdam. As his largest public art project yet, Hatton thought a lot about its horizontal format. He knew he wanted to create something involving “L.A.'s broad and sweeping horizons” for the Hyde Park station, but he wasn’t sure what its focus would be.
Having them “show me their neighborhood and their surroundings and their take on a city that we all share together was a really interesting aspect of the project,” he says. In a place that once felt unwelcoming, Los Angeles, for Hatton, has become a place of perpetual discovery.Artist Kenturah Davis in her L.A. home studio with drawings of her work to be installed as porcelain enamel panels along Metro’s Crenshaw/LAX line.
From the time she was young, her parents nurtured and encouraged her artistic expression. She distinctly remembers her father taking her and her sisters to the Rose Bowl to paint en plein air.“I don’t remember a time when I wasn’t making it,” Davis says in a cool, calm voice. Her interest in portraits has also been consistent. “That’s been the driving force and being interested in human interaction and the nature of that.
She’s never stopped going back. And her creative work has been directly, deeply influenced by her time there. But the opportunity presented itself when a former printmaking professor phasing into retirement invited her to take over a few of her classes.
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