Past Exhibitions

December 2, 2025 – February 4, 2026 

Canyon Country Community Center, 18410 Sierra Hwy, Santa Clarita, CA 91351

“Let Go” by artist Dani Samson is a series of collages created through an intentional act of surrender.  Samson states “Using a diverse array of materials, I enlist gravity as my collaborator, dropping cut elements onto a surface and gluing them down exactly where they land. By relinquishing control, I suspend my thoughts and conditioned habits, allowing surprising compositions to emerge. This process yields arrangements that challenge my expectations, often leading to captivating material interactions that bring new depth and complexity to the work. Much like life itself, this series explores the cycle of choice, chance, acceptance, and interpretation. Each viewer brings their own perspective, assigning meaning in the same way I do when stepping back from the work. I invite audiences to spend time with these pieces, asking themselves: What could it be? What could it mean to me?”

Links to Dani Samson’s Media related to “Let Go“:

• “Let Go” first published: https://www.instagram.com/p/C7hRBctp-5j/
• Samson explaining the piece Discovery: https://www.instagram.com/p/C7mvLv2Snhq/
• Samson explaining the piece Sit: https://www.instagram.com/p/C77xCPRPA3i/
• Demonstration and discussion of the piece Explore: https://www.youtube.com/watch?v=RXQuHp7IRqI

The artwork attached is titled “Portal”

Q&A with Dani Samson 

How do you usually start your creative process?
“In most of my practice, my process begins with a basic structure that I build from, such as a sketch or a reference image. There’s usually a lot of thought and intention behind how I arrange my materials, which often span multiple mediums. While I allow for looseness and moments of discovery, I tend to assert a fair amount of control over the outcome. What’s unique about the Let Go series is how radically simple the process is: gather collage materials, drop them, glue them, and observe the result. I have very little control, which makes this approach highly unusual for me.”

What is the best piece of advice you’ve received as an artist?
“There are many ways I could answer this, but one piece of advice has consistently carried me through my practice: fully own what you do. When I was first developing my creative voice, I felt self-conscious and uncertain about my work and its meaning. It’s easy, as an artist, to question the validity of what you make, how you make it, or why you make it. But leaning into your instincts, trusting your voice, and releasing shame around your work is essential. Your perspective is enough, exactly as it is.”

You use gravity as a collaborator by dropping cut elements and gluing them exactly where they land. How did you develop this technique, and what surprised you most when you began using it?
“In 2024, I challenged myself to intentionally cultivate certain qualities in both my life and my practice. One of those qualities was play. I initially approached this method as a fun exercise rather than a formal technique. I dropped the pieces simply to see what might happen. By the time I finished the first piece, I was genuinely laughing out loud with delight. The results were far more compelling and beautiful than I had anticipated, and I was surprised by the cosmic profundity of it.”

Have you ever been tempted to intervene after the pieces land, or is the commitment to “no adjustments” part of the integrity of the work?
“I am definitely tempted! But I very rarely make adjustments. Once in a while, I will flip a piece over if it lands “face down” (or what I think is face down). Other than that, I trust the process and let it be.”

How do you decide when a piece is finished, especially when chance dictates so much of the composition?
“Because I select all of the collage materials before I begin, the ending is already determined. The piece is finished when every chosen element has been used. Deciding how many pieces to select at the start is intuitive, guided by a feeling of “this is enough.” Knowing when a work is complete is an important skill in my practice overall, but in this series, the parameters make that decision more straightforward.”

December 9, 2025 – March 4, 2026

City of Santa Clarita City Hall, 23920 Valencia Blvd #120, Valencia, CA 91355

The City of Santa Clarita is pleased to present its latest art exhibition, “Travel and Adventure,” on view in the First Floor Gallery at City Hall (23920 Valencia Boulevard) now through March 4, 2026. This juried showcase celebrates the spirit of exploration, inviting viewers to experience the beauty, culture and wonder of places around the world through the eyes of artists. From bustling streets and iconic landmarks to remote coastlines, vintage transportation and foods that tell a story, “Travel & Adventure” highlights the universal joy of discovery and the connections we forge while exploring our world.

Among the featured artists is Justin Poole, whose vibrant oil-on-canvas works transform real locations into imaginative, dreamlike landscapes. “Although most of my work is inspired by real places to which I have traveled, I aim to capture a romanticized, dreamlike world with vibrant colors and unexpected juxtapositions. I hope that this work inspires people to go out into the world and make their own adventures,” Poole shares.

Also featured is photographer Nima Kharrazi, whose work reflects the emotional resonance of travel. Kharrazi states, “I feel as though, the more one travels, the more one feels connected to the whole of the world. You meet interesting people, you hear new sounds and you get to experience a different version of your daily adventure. Every day is a gift — why not surprise yourself from time to time? These are my surprises.”

The exhibiting artists include Ashleigh Abrams, Faye Abharian, Shiva Asrari, Joel Bareng, Sue Bozman, Lisa Broadway-Chow, Marita Braun, Catherine Carstens, Ryan Cheney, John Cowan, Meryl Goudey, Hope Horner, Keiji Ichikawa, Nima Kharrazi, Corissa Leeds, Allison Lauricella, Mellie Lewis, Eliska Makovicka, Mark Micchio, Jane Mick, Freda Morrison, Nancy Perkins, JJ Pomegranate, Justin Poole, Rick Quinn, Debora A. Roselli, Olga Shiller, Miki Stromberg, Tesha Smith, Rose Smither, Jayme Sun Thomas, Izik Vu, Naomi Young and Mia Zumsteg.

The featured photo is “Venice Canal” by Justin Poole.

November 19, 2025 – January 14, 2026

The MAIN, 24266 Main St, Santa Clarita, CA 91321

The City of Santa Clarita is proud to announce its latest art exhibition, “Persona Grata: Portraits” by Heidi Brueckner on view at The MAIN (24266 Main Street) now through January 14, 2026. This collection features large-scale, colorful oil and mixed-media figurative paintings that explore humankind’s understanding of itself and its relationship to storytelling.

Brueckner’s bold portraits present individual narratives through self-presentation, gesture, and expression, inviting viewers to reflect on the universal act of observing others as a way of better understanding ourselves. Her assertive use of color is intentionally divorced from naturalism and used as a metaphor for shared Humanity. The work is further animated through unconventional surfaces, including unstretched canvas, recycled bubble mailers, and found materials that billow slightly when hung, adding movement and texture to each piece.

​Drawing from an empathetic, documentary-like approach, Brueckner honors the dignity of her subjects while simultaneously disrupting traditional portraiture with unexpected spatial relationships, sculpted fabrics, sequins, and other playful mixed media elements. Her practice blends contemporary expression with socio-environmental awareness, integrating post-consumer materials as both artistic texture and commentary on interconnectedness, value, and sustainability.

The featured artwork attached to this release is entitled “It’s Raining Love” by Heidi Brueckner.

Q&A with Heidi Brueckner 

How do you usually start your creative process?
“I usually start with choosing a human subject either from life or from a personal photo. I may do some initial compositional sketches to get an idea of the overall form of the design. I then do a fair amount of intuitive work searching for mixed media materials or substrates and developing color schemes for each section of the work which I feel are appropriate to my overall vision.”

What is the best piece of advice you’ve received as an artist?
“Hang in there! Just keep doing what you want. Not everyone will get or like your work—that’s ok. Trends in the art world come and go. Maybe at one point your work will align with it, maybe not. Do it for yourself and as a way to enrich your life. That is the most important part of artmaking.”

Do you have any tips for artists starting out?
“Do what you love to do and plan for spending time working at getting better at it. Set a schedule for creating art. That dedication I believe becomes apparent in the work. Having said that, it’s easy to feel that you are not doing enough if you can’t dedicate yourself to art full-time. I have learned to set realistic, and therefore achievable, goals and expectations for myself. Meeting those goals feels very productive and puts me into a healthy mindset. I can then choose to surpass those realistic goals if I am able, which also feels great. Apply for as many art opportunities as you can and look at it as a numbers game. There will be a certain (larger) percentage that you will fail at and there will be some (smaller) percentage that will go your way. I really try to not take all of it too personally or overthink rejection. Accepting the fact that not everyone will respond to your work is actually really freeing. Do it for yourself. Also, expect to not expect when and where something positive will happen. I have also learned that the accolades are definitely not something one should base their self-worth on, and that’s why it is really important to be grounded in the work and what it does for your own experience in life.”

Do you have a favorite piece in this exhibit, if so, why is it your favorite?
“I don’t think I have a favorite, but I can say “Lounging in the Lot” is one of my favorites. It is a portrait of my son taking a break from skateboarding in a flea market lounge chair. Blind contours of my face and hands are in the clouds watching over him. Also, among the fabrics and papers included, there are remnants from his clothing from growing up that are integrated into the background which makes the work very personal.”

How do you hope viewers connect with this exhibit?
“My work at its core is about humankind’s understanding of itself. I study human nature, and its relationship to storytelling. These portraits are individualistic narratives which explore personage through self-presentation, facial expressions, and gesture. The work often challenges dominant social hierarchies by focusing on the under-revered, and appreciating the subject’s presence and dignity, giving pause to honor the person. The aesthetic is assertive, and the color is divorced from naturalism. Skin color is therefore eliminated which I believe is metaphorical for the hope that society aspires to, and achieves, equality among races and other kinds of human differences. The work is meant to honor the entirety of humanity—not just one section of the population or kind of person. I also see the integration of post-consumer waste of our globalized culture as a socio-political act which expresses our interconnectedness in what that we consume and waste but also compares what we consider treasure or trash. Ultimately, the paintings venerate the individual, and I view the work as being about Love, the kind of love that gives grace and understanding to individuals for what and who they are, including all their wonderment and imperfections. Another goal is to inspire working for a more socially and environmentally just world, encouraging people to appreciate and love one another, and to understand the importance of social justice and respect for our earth and all its creatures.”

You use unconventional surfaces like unstretched canvas, recycled bubble mailers and found materials. What inspired this shift away from traditional substrates?
“I started experimenting with some alternative substrates when a large amount of detritus was generated in my home during the Covid-related shutdown. In an effort to recycle, I started by using paper bags because for a while we weren’t allowed to bring used bags back to grocery stores. I then switched to using pieced-together Amazon bubble mailers because of them piling up from all the online ordering. After a while, I started to see the integration of post-consumer waste of our globalized culture in my work as a socio-political act which expresses our interconnectedness in what we consume and waste but also compares what we consider treasure or trash. Painting on alternative recycled materials as substrates and introducing other recycled mixed-media elements such as paper, sculpted fabric, and found objects into my portrait paintings have really opened up creative possibilities and expression in the work and also have added a uniquely contemporary and environmentally friendly component.”

Are there any new materials, stories or approaches you’re eager to explore?
“In more recent paintings, I have started experimenting with the overall shape of the paintings beyond the “square”, and also with adding more substantial 3D elements, like sculpted fabrics, which offer a higher relief element to the images. This experimentation has helped me feel that there are unlimited possibilities in my chosen genre of portraiture. It has enabled me to follow whimsical tangents of materiality while being challenged with integrating those ideas with the more traditional medium of paint which is often used to suggest illusionism. I am soon travelling to India and hope that the travel photography I do there will provide a new jumping off point for the work.”