Full Circle – Paintings by Stevie Chun @ Sagebrush Cafe

Does it sound paranoid to say that we’re seeing circles everywhere? No matter where we look – circles, and circles within circles.

They are in our eyes, double circles of pupil and lens. They are in the sky, one blazing sphere burning down at us by day as another struggles through the night, grasping always to be complete. There are circles made by man down here. There are children swiveling the hoola hoop until they let it fall at their feet. And it all repeats. Cycles. Circles within circles.

It’s all connected. It’s all about connection.

As Stevie Chun writes in her artist statement for the show:

The circles in “Full Circle” signify events in life. These life events are monumental in shaping who we are as individuals while connecting us to one another, all of them, big and small.

For this series, Chun is painting with ink and watercolor and attaching the paintings to wood. Each piece features a multitude of circles, which Chun describes as a “modest shape” but one that also “has many symbolic meanings across cultures. Circles represent the complexity and completeness of life. In this circular form we can all be connected – able to find common ground.”

An ancient symbol of unity, the circle also evokes notions of the cycle of life, tying it to the most fundamental mythologies of origins – life emerging, cresting, blazing a fullness of being, and returning from whence it came.

The images here recall the feeling of first seeing deep space telescope images from the Hubble – bright galaxies wheeling reaching back toward beginnings too dim to recall.

But the brightness is what we see in those telescopic images. The fecundity of the cosmos…shining like a party in the distant corners of the sky. Each image, like each piece in Chun’s “Full Circle,” is a celebration of this well-spring, this energy.

Showing Now:

Full Circle

Paintings by Stevie Chun

at Sagebrush Cafe

42104 50th Street West

Quartz Hill, CA 93536

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RAVENSONG – Call for Creative Writing & Art Submissions

Sagebrush Cafe is looking for your creative work – creative writing and art submissions – to be published under the project banner –  RAVENSONG.

Theme: PUTTING DOWN ROOTS

What to submit?

• Flash Fiction. Poetry. Visual Art. Essays. Philosophical musings.
• Send it in.
• Attach a brief bio (a couple sentences would be great).
• Deadlines:
  • First Cut – February 20
  • Second Cut – April 20

RAVENSONG  – Call for Creative Writing & Art Submissions

We’re hatching a scheme to publish an alternative to the traditional arts magazine, keeping things low key and posting creative work monthly on our blog page. Twice this year, we will also send out an omnibus creative newsletter featuring selected submissions.

We want to see what people are getting up to, thinking about, creating and exploring. And we’d like to see if we can help share the product of that creative work.

Sagebrush Cafe is turning ten years old this year, so our theme is PUTTING DOWN ROOTS, but we are accepting work on any subject.

What song are you singing?
Send in your work to art@sagebrush-cafe.com.

 

Mari Hall – Electric Moon Baby

Antelope Valley painter and writer, Mari Hall, exclaims a “world view, personal, eclectic and electric, is an art lens uniquely shaped by growing through a spiritual,
cultural and technological revolution.”

Her paintings offer a perspective that seems to play on the tenets of both folk art/folk tales and science fiction, fusing a striking and particular modernism with a sense of the universal.

 

“Magnificat, Opus in Power”    

 “Foon”

 

 

 

 

 

And this makes sense when you find out that Mari Hall is also a science fiction writer. Her 2017 novel, The JuneNoon Effect, “is a thrilling ride through modern America. Set in the not-so-distant future it is a tale of modern life in an age of extravagance.”

 

Reviewing the novel, Chazz Clarence Ross write that The JuneNoon Effect “espouses Mari’s intricate command of scientific unknowns in the sphere of political subversion and spiritual antagonism. Like a backwards, Halloween ride on Colossus, you will relish Mari’s sudden twists and turns in this potent, sultry journey that smirks the secrecy of Area 51, 911 and other supernatural enigmas.”

Find out more about Mari Hall at her aptly named website, electricmoonbaby.

 

AV Arts Convo: Mixed Media Art by Julie O’Sullivan

The AV ArtConvo – featuring art by Julie O’Sullivan.

Presenting Mixed Media Art by Julie O’Sullivan

SATURATION 2.0: The Arts in Conversation project at Antelope Valley Arts is an ongoing, weekly publishing series: Local artists (painters, poets, photographers, fiction writers) have been invited to submit art and partake in a conversation on artistic influence and inspiration as the print arm of Antelope Valley Arts goes digital.

Julie O’Sullivan is our featured artist this week, showcasing a playful and colorful sensibility. O’Sullivan is an active presence on the Antelope Valley arts scene, showing work and winning prizes and hashing out new ideas along the way. This dynamic and sweet-hearted artist brings a little madness to her method and the results, in turn, are dynamic and sweet-hearted, lively and engaging.

Who or what are your major artistic influences?

Miro’, hands down. Love him, though, in high school I was a die-hard Andy Warhol fan. I wanted to be Edie Sedgewick. When I moved to NYC I stalked his factory and tried to breath the same air he breathed. Loved him. Now that I have seen his work not only in museums, but in people’s houses, I feel I have moved on. It will always be there influencing me in the back of my mind but I am so ingrained in abstract art that if I could meet one artist in all time it would be Miro’.

What artist do you currently find yourself talking about most often and why?

Local artists Marthe Aponte and Geoffrey Levitt. I met them when they were starting out and look at where they are now in the matter of a few of years! I love how they have evolved and seek inspiration in their advancement from beginning artists to emerging artist, artists to watch. I think they have greater things ahead for them. I will forever be a fan of Miro’ and Lurcat. I am terribly inspired by them and had the great pleasure of visiting both of their studios.

How does music influence, shape or fit into your work?

It used to influence it greatly, especially during my celestial series. I would pull up Pandora and paint to new adult alternative artists. I will forever be a fan of Parov Steller and Wax Tailor. They always inspire me to paint openly, they seem to open up my third eye. Through Pandora I found a whole new line-up of international artists. I always paint well to Beruit, they are very calming. The lead singer sounds a lot like David Byrne from the Talking Heads. David has a special place in my heart. Chvrches has an entirely different mood and when I am feeling a bit off I pull that Pandora station up for a listen. Then there is Vampire Weekend, Phoenix and Ratatat for when I am in the “designing” mood. These are bands I would have worked to in architecture school and now work to when I paint cityscapes. Bjork is a long time influence. Love her and her daring to be unique. When I listen to her I feel her mood. I love to paint feelings, such is the life of an abstract artist. A song by Wild Belle, called “Keep You” is one I play over and over. That YouTube Video just hits me for some reason. I am haunted by it. I feel it is like the child within a man that you can never keep.

 

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Catch up with Antelope Valley Artist Julie O’Sullivan at her website.

More from the AV Arts Blog Convo

• Poetry by Tino Garcia
• Poetry and Art by Edwin Vasquez
• Poetry by Hollie Martin

 

AV Arts Convo: Poems by Hollie N. Martin

HAPPENING NOW: Antelope Valleys Arts new initiative, the AV ArtConvo, featuring poems by Hollie N. Martin.

Presenting poems by Hollie N. Martin – “Laguna’s Labor” & “Shakes in Heat”

SATURATION 2.0: The Arts in Conversation project at Antelope Valley Arts is now live: Local artists (painters, poets, photographers, fiction writers) have been invited to submit art and partake in a conversation on artistic influence and inspiration as the print arm of Antelope Valley Arts is going digital.

This week we are featuring the work of Hollie N. Martin, a poet with a vivid and deeply rooted connection to the arts. When she is not actively meditating on sound through her writing, Martin teaches at Antelope Valley College, where she is probably also meditating on vowels and consonants in delicate contrast and delightful pattern.

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Laguna’s Labor

 

Waters of sanctification scattered.

The sonogram of fish.

A birthing, writing baby

begging to issue from the womb.

 

Waves do not seem as harsh

from so great a height,

from so small a whisper

not wanting to crack the air with human language.

The tide sings an aria of rocks,

of an intercourse between liquid and solid.

Freely you have received.

                                    Freely give.

 

Waters of sanctification scattered.

The out-spray of a crash.

Brute force munching a foundation,

eating the cracks of the earth.

 

And you are down there,

deep-sea decked in 80s yellow.

World never to be born.

World who wonders what it must be like

to inhale deep and

escape amniotic fluid.

 

And I am up here,

arms cradling the metal guardrail, my own tightrope,

waiting for this foundation’s dissolve,

for the moon’s glow to liquefy my heart

and issue a prayer.

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Interview Part 1

Who is your favorite writer? How does he or she influence your work?

Li-Young Lee will always be my favorite poet, and Book of My Nights will always stand in my mind as his best work.  I was first exposed to Lee as an undergrad at CSUN, and I fell in love with the spirituality and sensuality of his language.

I love the recurring theme of the father figure in his work, as in the poem “Little Father,” which discusses burying the father in the heart and birthing him again into the child’s own image.  This is especially touching now, as my own father is suffering from Alzheimer’s Disease; I am having to rebirth him today, to take his sounds and movements and make words out of them.

Lee also brings in song and birds, which are two intense touchstones in my life; these images brought me through my own “book of nights.”  This line from “Lullaby” comforted me when I was suffering from depression and suicidal thoughts while in college: “After crying, Child / there’s still singing to be done.”  The capitalization of the Child spoke to me of importance and significance, as a push to keep existing.  Then the lines, “After wings // and the shadows of wings, there’s still / the whole ungrasped body / of flying to uncover.”  This spoke to me of the promise of potential: there was, and is, so much more flying to do.

I have wanted to emulate the sense of pause and depth in his work, and while I am far from achieving that goal, Lee gave me a deep appreciation of the way one word can change the timbres of a work.

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Shakes in Heat

Christmas
does not feel like Christmas
until there are lights.

Small and white
like rain drops.
Large and pied
like gum drops.
Lights from trees, cars, overpasses,
lights from a city screaming daytime in nighttime tongue.

And I whisper words
while the lights scream. Somehow.
They pulse. I think it’s my eyes.
I think it is lack of 20/20,
lack of hindsight, no time to reason,
only to eat the moment
one droplet at a time.

Sometimes I choose to unfocus.
I open eyes wide and rest.
The lights explode in blur.
Then I strain, then I readjust,
then the light’s song rushes toward me
and it shakes in heat.

Completely mechanical. What
isn’t mechanical.
Christmas becomes a series of bulbs
dangling from gaunt-green strings.
Swear words
at the raising of a killed tree.

So I look for a miracle in shivering lights.
(They’re cold from lack of attention.)
I look for a dream through bars
locking away the view.
Dear city of angels,
I look for winged creatures under every bush.
We with our snowless eves.
Us with questions and pleas.
You and I and cries for peace.

My heart matching a pulse too great to be a machine.

I think light is magic.
I think the city is lit by Gabriel’s torch.
The cries accompany glorias.

I will catch the light in my hands.
I will take it home, sew a little nest,
and watch its wings develop.
I will ask it to fly inside my eyes.

 

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Interview Part 2

How does music influence, shape or fit into your work?

To be honest, I often can’t write anything creative without music.

I have been singing since I was little, and I learned to play guitar when I was 21.  I tried to form a band with my sisters for a time, and we had our own level of success, but it never went very far.  I think I was more fascinated with the writing process of music and performing it for a few friends than for “musical success.”  (One of my favorite pieces of ours was a melodic rendition of pieces from Eliot’s “The Hollow Men.”)

Musical sounds captivate me.  Playing a chord progression in a repetitive manner will often allow me to “see” words or images (I’m a sucker for very traditional time measures with sticky melodies).  I will get a concept, set the guitar down, and start writing.  Some of my strongest poems have been written in these moments.

I have also produced work while listening to the music of others.  My musical tastes tend to not reside in the mainstream—and I’m not talking about the “cool” non-mainstream.  I grew up surrounded by music that was written from the perspective of people who were followers of Christ.  I attended concerts almost every weekend through my teens and twenties, and some of those musicians have remained in my auditory repertoire ever since.

The artists Jason Upton and Rita Springer are two of these people, and they produce music that I just can’t classify into a specific genre.  Upton is extremely free-flow, in the sense that he often writes songs while in the concert experience itself.  That creativity helps uncork me, especially when I am suffering from writer’s block.  Springer channels a Janice Joplin type of voice and pounds out melodies on the piano.  She is very raw—like a wild lioness who could kill you at any moment and afterwards comfort her baby cubs.  She is so different from me that she also uncorks new arenas of creativity.  Their albums can’t even capture how they sound live, so whenever I can, I try to see them, often with a notebook and a pen in my hand.

Most recently, I have been moved to write while listening to “When the Music’s Over” by The Doors and “The Fire and the Flood” by Loud Harp (a duo who sings the Psalms).

 

 

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Note: Image above of “Rocky Sea Coast” by William Trost Richards (public domain image).

AV Arts Convo: Art & Poetry by Edwin Vasquez

HAPPENING NOW: Antelope Valleys Arts new initiative, the AV ArtConvo, poetry and Multi-Media art by Edwin Vasquez.

Presenting Art & Poetry by Edwin Vasquez

SATURATION 2.0: The Arts in Conversation project at Antelope Valley Arts is now live: Local artists (painters, poets, photographers, fiction writers) have been invited to submit art and partake in a conversation on artistic influence and inspiration as the print arm of Antelope Valley Arts is going digital.

This week’s featured artist is a substantial figure in the regional art scene in many ways: showing, helping others show, publishing, speaking and opening artistic doors – Edwin Vasquez.

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Edwin Vasquez |Interview Part 1

Is there a certain emotional valence or emotional register that characterizes your work?

As an artist and writer, the term “Humanities” links my work together, especially since I was born in Guatemala, where a forty year internal political war gave the artists a voice for the voiceless. I don’t know if my work is still “political”, but it has definitely evolved because my focus is on creating art using recycled materials. I think art should include social issues because, even here, many don’t have a voice regarding political issues.

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WE ARE AMERICANS

 

We shall not be denied the freedom,

the liberty and happiness

on which our country was built.

 

We are the farmer’s hands

rough like old leather

with blisters  and aches from working on the fields

where your food comes from.

 

We are the trash collectors

keeping the streets clean

where your limousine is parked.

 

We are the nurses and doctors

saving your brat kids from drug overdose,

from drinking like pigs with your filthy money

because at home there is no love other than for stocks and bonds.

 

We are the teachers

buying school materials out of our own pockets,

and preparing the next generation

so they can attend Ivy League schools

not because they bought their way in, but because they earned the right to be there.

Yes, we deserve liberty, freedom and happiness

even-though priorities deviate us from our dreams

and only takes hateful words from powerful blindness

and arrogant men to wake us up,

your words were like a cold shower that got to our souls.

 

Yes sir, we are Americans too,

we came here for a better future,

we didn’t grow up with a silver spoon,

we made that spoon with our sweat and hard work,

we are the Hernandez, the Robledo, the Vásquez

we are part of the puzzle that makes America great.

 

Thank you for your poisonous words,

they are spreading in our communities like California wild fires

and soon you will see a tsunami wave so strong

that your wealth and your ambition will be tarnished

and like the rest of us, you, Sir

can look at the White House from the street.

 

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Interview Part 2

What artist do you currently find yourself talking about most often and why?

The artist I am currently following is Efrain Recinos, a Guatemalan contemporary architect, painter, and sculptor. Sadly he passed in 2011, but his art legacy is of tremendous value for Guatemala and for the world. He was born in the second city of importance, Quetzaltenango, which is the city I was born in as well.

How does music influence, shape or fit into your work?

Music is an essential tool in my art life; Jazz and Latin-American are my favorites. Since the internet gives us the opportunity to listen to the beats and sounds of many countries, I find myself listening to music from all over the world while exploring mixed media in my studio.

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ENDLESS PLAY

Hollywood, the endless play with real life actors,

those with rags and riches walking among the stars

and dancing the waltz of all nations,

where all dream how awesome meeting a movie star could be.

 

The seasoned actors make their moves unceremoniously

across the hot concrete stage, hustling the unsuspected tourists

drinking coffee or Red Bulls, while attempting to take selfies with faking smiles

and overflowing the sidewalks like hot lava rivers from Brea to Vine,

unaware of the homeless trying to sleep because it was yet another bad day.

 

Hollywood, glamour and seventy-five degree weather,

where the scent of urine is overpowered by cigarette smoke,

Chanel, Yves Saint Laurent, or illegal weed,

where walking the long boulevard becomes another meaning,

where it feels real and, then, it hits you —

here, poets pick the stanzas just by opening the senses and

realizing, sadly, that the golden promise is nothing but fool’s gold.

 

Hollywood, the endless play

with characters and fake superheroes,

Gucci glasses and skateboarders,

where Starbucks and tarnished stars

compete with IPhones and Barbie dolls…

this endless play, where actors come for a piece of the pie

and end up living a new tomorrow

for the second act and their broken dreams.

 

MADE IN THE DESERT AVC Friends of the Gallery Members Exhibition

Once again, the AVC Art Gallery invites you to celebrate your talents and our arts community in our 2014 Members exhibition:

MADE IN THE DESERT

AVC Friends of the Gallery Members Exhibition

​

November 20 – December 5, 2014

Reception:  Thursday, November 20, 7 – 9 p.m.

 

The Antelope Valley College Art Gallery invites artists working in all media to participate in our Friends of the Gallery exhibition.  When you join Friends of the Gallery, you are invited to submit one work to the Made in the Desert exhibition honoring our members.  In accordance with this year’s theme, we encourage you to submit a work shaped by your experience of the high desert, whether that impact is visual, cultural, philosophical, etc.  Whether you are a career artist or just beginning to explore your artistic side, all are welcome!

To submit an artwork to Made in the Desert, please bring your piece to the Art Gallery during our drop-off dates where you can complete a membership form and loan agreement.  Work submitted must not have been previously shown in the gallery.  If your piece is over 50” x 50”, please contact gallery director, Christine Mugnolo (cmugnolo@avc.edu), prior to submission.  We look forward to seeing your work!

Your membership provides crucial support to our public workshops and exhibitions, giving us the ability to educate students and the AV communities through arts programming, visiting artists talks, educational activities, and visual cultural awareness.  Thank you for being our artist friends – we truly value your support!

Membership Fees:  Friend – $20 per year, Student (with i.d.) – $5 per year

(payable by cash or check to ‘Friends of the Gallery’)

MADE IN THE DESERT drop-off dates:  November 10 – 18, during Gallery open hours

(Monday – Thursday: 9 a.m – 9 p.m., Friday: 9 a.m. – 7 p.m., closed Saturdays and Sundays)

Pick-up dates:  December 9 & 11, 12 – 3 p.m. (subject to change, please check gallery website for confirmation)

For more information and pdf of the FoG brochure, please visit our gallery website: http://www.avc.edu/academics/vapa/artgallery

Or give us a call:  (661) 722 6300, x 6215

The Art Gallery is located on the West side of the AVC campus in building FA1, the Fine Arts Building, just north of the new Performing Arts Center in the Fine Arts Quad.

An interview with Antelope Valley Artist Michael Jones – painting a smile on the future

Photo Credit – James Stamsek

Antelope Valley artist Michael Jones once told me that his art is all about gathering life and enjoying it. You can see that philosophy at work in his art and in his dedication to his craft.

I met Antelope Valley artist Michael Jones about five years ago. Back then, he was doing extra bold, extra bright non-figurative painting and putting on a solo show in the gallery space at Sagebrush Café. Today, Jones has expanded his stylistic repertoire, moving into mixed media work – still extra bold and extra bright.

Along with his evolving style, Michael Jones has evolved his place in the arts community, teaching classes and showing his art from Los Angeles to Oakland to Florida . He has shown work in a number of places here in the Antelope Valley, including Graphic Experience, a place that Jones often mentions as his real starting point. And he’s been interviewed in the Antelope Valley Press Lifestyle Magazine and he was also featured at AVTimes.com. These local interviews are in addition to various blog interviews and features online looking at Jones’ art and his passion for positivity.

Preferring Facebook to other venues, Jones regularly posts inspirational thoughts on his FB art page and posts images of his work and his unique inspiration projects.

It’s been great to get to watch Jones from afar (or, from the other side of town) and see his Dream Big(ger) project grow. We recently had the chance to ask Michael Jones a few questions for the AV Arts Blog.

***

Eric: First, how would you describe your Dream Big(ger) project? I’ve seen the t-shirts, the stenciled street art and the paintings. It seems like a project with some real momentum. How would you describe the project to someone you just met who is unfamiliar with the project and/or with you as an artist?
Michael Jones: The dream bigger project is basically something to add a little positivity to the people that need it and to the ones that didn’t realize they needed it. The Dream Big(ger) movement isn’t about the money, not about getting famous. It is about giving people something positive to reflect on within themselves and really work hard towards what they want. It is all about doing good and paying it forward… Chasing your dreams with no excuses to hold you back.

Eric: I’ve seen pictures of your inspiration leaves on Facebook. Can you talk about that a little bit? Also, what is it that makes FB work for you as a venue as opposed to an art website (which you used to have, but decided to shut down)?

Michael Jones: I call it the daily leaf drop, but one day I was watching youtube and saw a man gather a bunch of leaves, put them in a bag and pour them off a building onto the sidewalk below. While I was watching, I was thinking, how about instead of many leaves I can use one single leaf, write something positive and put it somewhere in hopes that someone finds it that needs it.

I had a pretty active website but I try to use, Twitter, IG and FB as much as I can – the reason being most people have a Facebook, Twitter or Instagram. Social media is taking over, either get on the train or be left out – haha – I do plan on bringing the website back soon enough.

Eric: What is happening in Germany ? Is it true you are setting up a gallery there? What can you say about that?

Michael Jones: Where do I start about the Gallery… My Dad happens to live in Germany and he wanted  a place to showcase his photographic work because he does photography. He asked if I wanted in on the deal and of course I said yes. So I own half of the gallery and plan on doing many things once the time allows.

Never seems like enough time in the day for all the projects brewing in my head.

Eric: In what ways has your art developed or changed since we first met five years ago?

Michael Jones: To be honest, my art has changed so much within the last five years. It is still weird saying I’ve only been painting 5 years yet have accomplished so much in that time span. One thing about me is I am always hard on myself and want to do bigger and better things. I told myself from day one that I will never get complacent and I will never give up on my passion. So from my earlier cave man paintings to the crazy wild abstract paintings you see today it is safe to say I am forever changing ….

Eric: I’ve heard just a little bit about a Michael Jones documentary film about you and your art. Can you talk about that a little?

Michael Jones: I have an art bucket list of projects I wanted to do throughout my art career. Until now I haven’t been able make it happen because the help I needed was just not around. Now I have my team together so we are documenting every project as much as we can. I have 60 things on my list and the plan is to do one every month for the next five years.

Eric: In terms of viewer/audience response, have you ever been surprised that a particular piece got a really strong, positive reaction?

Michael Jones: To be honest if any of my art gets a strong response I am satisfied. The more I journey through art the more of a meaning I realize I am gaining subconsciously.  Less and less it is about the money and more about the message … As it should be . The Marilyn Monroe Piece I did a few months ago got some major hits and it was a bit overwhelming but, definitely motivated me.
Dream Big(ger).

Photo Credit – Kyoshi Becker

Check out the Michael Jones interview at AVTimes.com and watch out for more to come in a possible – probable – near future continued interview with Mr. Jones, one of the Antelope Valley’s most prominent artists today.

You can also take a look at an older interview with Michael Jones from the AV Arts Blog here.

Collage Art by Eric Martin Showing at Sagebrush Cafe

Collage Art by Eric Martin showing at Sagebrush Cafe

November 1, 2014 through January, 2015

“Making collage art is a bit like dreaming, for me anyway. Even when there is a plan, there is also quite a bit of moment-to-moment decision-making, spontaneity and accident. Pieces develop in fits and starts. You make leaps. Layers of ideas pile one on top of the other. Layers of potential meaning too. Associative thinking runs rampant.

“It’s tempting to wonder why certain images crop up in anyone’s art. And it’s tempting to wonder why certain images crop up in your own art. Why a boat? Why a horse? What do these images mean?

“Carl Jung once said, “Your visions will become clear only when you can look into your own heart. Who looks outside, dreams; who looks inside, awakes.”

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“Artists will relate to this notion and think immediately of the creative process – as a way of bringing the inside out, balancing the inner life with outward expression. But is art a way of waking up? Or is it a way of dreaming out loud? Maybe those two things are the same.

“Thinking about Carl Jung and his dream theories I tried to diagnose some of the pieces in this show. That turned out to be a real rabbit hole… They could mean anything. The unconscious mind reads like a horoscope.

“For my part, I think that some dreams do probably mean something, though I couldn’t say what. They may be pedestrian most of the time, just recycling a day’s memories. But sometimes they might be more than that. Discoveries can be made. In a dream, your eyes can be opened. What will you see?”

This is the text of my artist statement. I know it’s weird to put it in quotes since I am the editor of this blog. But that’s what I did, because…I don’t know. I just did.

The UFO SHO is gearing up. Have you sent in your story or your art yet?

Blast off October 11th at Sagebrush Cafe! Do you have a paranormal experience in the Antelope Valley that you’d like to share? Email THEUFOSHO at gmail dot com.

The Antelope Valley is rich with unexplained phenomenon and the goal of this show is to compile these experiences and and have an open discussion about the who/what/when/where/and whys.

We’ll be attempting to achieve this goal (at 6-9pm on October 11th) with:

– Live Space Music
– UFO Stories, Art and Videos
– Alien Autopsy
– Experimentations
– Power Point Presentations
– Alternative Theories
– Ancient Sculptures
– Tribute to Science Fiction Artwork
– Much More!

If you have a local UFO (or any unexplained phenomena) story to share, please send an email to theufosho at gmail dot com and we’ll print it in our UFO SHO ZINE. Thank you!