Julie Green | A Solo Exhibition

Where the Field Begins to Sing

Exhibition Dates – June 17 to June 29, 2026

Opening Reception Saturday, June 20 5-9pm

Closing Reception, Sunday, June 28 3-5pm

There is music in the spacing of the spheres - Pythagoras

(Los Angeles, CA April 29th, 2026) Featuring all new works (2025-2026) by artist Julie Green, her solo exhibition Where the Field Begins to Sing proposes that the imaginative landscape is not silent. It vibrates beneath structure. It hums within color. It waits in tension across string and surface. And in the moment of encounter — between artwork and viewer — the field begins to sing.

Green’s practice is situated within a lineage of abstraction that treats color not as description, but as event. Her work extends conversations initiated by early modernist painters who understood chromatic relationships as spiritual or musical phenomena, yet it moves decisively into a contemporary register — one grounded in embodied perception, neural multiplicity, and participatory experience.

Central to this exhibition is the phenomenon of chromesthesia, in which sound is experienced as color. Rather than illustrating this condition, Green builds its spatial equivalent. Her compositions imagine a cognitive field in which neural connections remain abundant and unpruned — where associations proliferate and perception branches outward. The resulting visual language explores Green’s personal experience with this cross sensorial perception.

The introduction of playable musical strings across select works shifts the exhibition from metaphor to activation. Tensioned across constructed surfaces, these strings transform line into literal vibration. When touched, the work responds. The viewer’s gesture produces sound, collapsing the boundary between observer and participant. The field is no longer a visual suggestion of resonance; it becomes a resonant body.

This participatory dimension situates Green’s work within a contemporary discourse that values sensory hybridity and cross-modal experience. In an era increasingly mediated by screens and flattened images, her relief forms insist on tactility, depth, and physical engagement. The exhibition invites viewers not merely to look, but to listen — and, in some cases, to play.

The repetition of line and form throughout various works evokes musical notation without becoming illustrative. Color functions structurally, like harmony. The works unfold temporally, asking the eye to move across them as one might follow a melody.

Abstraction here is not detached or austere. It is sensorial, immersive, and relational. The “field” of the title refers simultaneously to landscape, perceptual space, and electromagnetic resonance — an expanded zone where vision and audition converge. In Green’s hands, the geometric plane becomes a site of listening.

About the Artist

Born in Oakland, CA in 1969, Julie Green was surrounded in her youth by contemporary Bay Area artists Ruth Asawa, who she is related to through family, and David Ireland who she assisted at his Capp Street Studio in the early 90’s. Studying for several years under Steve Harper at The San Francisco Art Academy, Green earned her BFA in Fine Art Photography under Jack Welpott, Robin Lasser and Don Worth at San Francisco State University in 1991.

Throughout the 90’s, Green worked as a rock and roll photographer while also being the lead singer in the all-girl band Cameltoe. Her fine art photographic and painted portraits of her fellow musicians continued to be exhibited throughout the Bay Area.

In 1999, Green moved to Los Angeles where she worked as a portrait photographer in the music and entertainment industry. The stage became part of her fine art photographic. Work and art collided when Green once again sang as a front woman for a band in Los Angeles called The Checkers, producing several albums and national tours from 2002 – 2007.

From 2005 -2025, Julie Green worked for the artist David Hockney as Head of Reproductions, where her keen eye for color was utilized. Her current art practice at her studio in Lincoln Heights, allows her to channel her life experiences into visual form.

Media Contact Keystone Director Melanie Mandl, keystoneartspace@gmail.com

Gallery Hours Tuesday-Saturday 12-5pm or by appointment.

Artist Julie Green, julievox@sbcglobal.net, (213) 422-8390, Website: www.juliegreen.net Instagram @juliegreenfineart                             ###

Natasha Rudenko

Road of Life

July 3rd - July 13th

Opening reception TBA

Documentary photographer and visual artist Nataliya Rudenko invites you to their solo exhibition “Road of Life”, a powerful and intimate multi-media reflection on displacement and complex trauma of the prolonged war in Ukraine.

As Russian attacks intensify and the frontline moves closer, residents of towns and villages across eastern Ukraine are forced to make impossible decisions. Carrying only what they can take with them, they leave behind homes, possessions, pets, gardens, and lives built over decades, departing with no certainty of when, or if, they will return.

Many volunteer evacuation teams work across the Donetsk region, helping civilians leave frontline communities. In March and April 2026, Natasha joined the team of volunteer project “Road of Life” with whom they evacuated approximately 200 people from the town of Druzhkivka and nearby villages. Located roughly 8 miles from the frontline, these communities now fall well within the reach of modern drone warfare. In the current war, the so-called "kill zone", the area within which armed drones can identify and strike targets, extends up to approximately 19 to 20 miles from the frontline.

The portraits bear witness to this moment of departure. Photographed at the doorsteps of lost homes, along evacuation routes and at collection points, they depict individuals and families suspended between the lives they once knew and an uncertain future elsewhere. Their expressions, belongings, and presence speak not only to displacement, but also to the quieter realities that precede it.

Contemporary warfare is increasingly experienced not as a sequence of isolated events but as an ongoing condition. Missile strikes, drone attacks, air raid alarms, and the constant possibility of violence create an environment in which uncertainty becomes embedded within ordinary existence. Over time, people adapt. Air raid alarms become background noise. Protective measures become routine. Visible signs of war merge into the landscape of everyday life. Sounds, objects, and experiences that elsewhere signify safety, leisure, or normalcy acquire entirely different meanings. The buzz of a drone overhead becomes a warning. The sound of gunfire can signal protection.

Through photography, installation, sound, and video, the exhibition invites viewers to encounter this altered reality. The portraits on the walls stand as witnesses to experiences that cannot be fully captured by statistics, maps, or reports. Looking back at the viewer, they connect the abstract realities of war to individual lives, reminding us that displacement begins long before the moment of evacuation. It begins when uncertainty, fear, and adaptation become woven into the fabric of everyday life.

About Natasha Rudenko

Natasha Rudenko is a fine art photographer and multimedia visual artist whose work explores identity, belonging, displacement, and the human condition. Holding an MFA in Photography from the New York Film Academy, they often use photography as a form of self-inquiry, employing self-portraiture and performative image-making to examine their experiences as a feminist, immigrant, and white female-presenting non-binary artist. Their work investigates the fluid relationship between selfhood, memory, and representation, positioning the artist as both creator and subject.

Since the start of Russia's full-scale invasion of Ukraine, Natasha's practice has increasingly focused on documenting the lived realities of war. Through photography, video, and installation, they explore the emotional, psychological, and physical consequences of conflict, with particular attention to displacement, adaptation, and everyday life under conditions of ongoing threat. Their recent solo exhibition, The Doors of The House Rust Hopelessly (2025) at Keystone Gallery in Los Angeles, examined the aftermath of war and the traces it leaves on people and places. Their earlier solo exhibition, Be/longing (2022), explored themes of identity, immigration, and belonging.

Alongside their artistic practice, Natasha is an educator and humanitarian organizer based in Los Angeles. They teach photography and visual culture at institutions including the New York Film Academy and UCLA Extension, developing inclusive, culturally sensitive curricula that encourage both technical proficiency and critical thinking. Natasha also serves as Vice President of Post Angeles, a nonprofit organization delivering humanitarian aid to Ukraine. Their work has been exhibited internationally and published in feminist and queer art publications, reflecting an ongoing commitment to visual storytelling as a tool for reflection, dialogue, and social engagement.