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Arts In Residence
The Granger Hotel, a place where art and community come together.
Everything Touches at Granger brings together ten Southern California artists whose work explores how materials, ideas, and environments interact. The exhibition weaves neon, textile, flora, and found forms into a shared, sensory landscape where boundaries soften and every element becomes part of a continuous exchange. Here at Granger, art lives within the spaces where people gather, connect, and simply exist—because in this environment, everything touches.
Jennifer Findley is an art advisor, curator, and founder of the JFiN Collective. Findley specializes in the strategic development of legacy art collections that are grounded in narrative and honed aesthetics. Known for her sharp curatorial eye and deep market insight, Findley works internationally with private, institutional and commercial collectors to curate focused holdings in Contemporary and Ultra-Contemporary art. Through the JFiN Collective, Findley provides full-spectrum advisory services—from acquisition strategy and collection management to exhibition planning and curatorial consulting. She most recently co-curated 'american minimal', an acclaimed survey of East and West Coast Minimalism with a focus on underrepresented women artists, at the San Diego Museum of Art. Findley is an art advocate and serves on the Boards and Collection Committees of the Mingei International Museum and the San Diego Museum of Art. Named an Art Expert by the Observer, Findley is regularly invited to speak on curated collecting and serve as a judge for international art competitions, and has been recognized as a “curator to know” and a “power player” in the Southern California art scene.
Max Hooper Schneider is a multidisciplinary artist whose work blends biology, philosophy, and landscape architecture to explore entropic forces, posthuman forms, and the uncanny. Through habitat-like installations, he investigates transformation, succession, and symbiosis, challenging human-centered perspectives on time and material culture. He holds a Master’s in Landscape Architecture from Harvard and Bachelor’s degrees in Urban Design and Biology from NYU. His work has been shown internationally at the Hammer Museum, UCCA, MO.CO Montpellier, and Centre Pompidou-Metz, and is in major collections including the Hammer Museum, Rubell Museum, and Musée d’Art Moderne Paris. He has received the BMW Art Journey Prize and Schmidt Ocean Institute Prize and lives in Los Angeles.
Explore the works in the current exhibition: Everything Touches.
Yomar Augusto is a Brazilian-American artist who splits his time between California and New York City. Over the last 15 years, he has built a reputation as a sought-after studio artist, calligrapher, typographer, and muralist, working independently across three continents. Yomar’s work is defined within spatial limits, yet within these borders his gestures and movements—sometimes thoughtful, sometimes mimetic—are characterized by flow, by a natural organic abstraction. His work mirrors his personality: faithful to his way of thinking, it can be understood as an intricate, almost linguistic system that communicates through the strength and beauty of its forms. It carries a Brazilian playfulness and an honest transparency that reveals our—his and ours—shared randomness. – Eduardo Varella
VICTORIA FU (b. Santa Monica, California, USA) is a visual artist who received her MFA from CalArts, an MA in Art History/Museum Studies from the University of Southern California, and a BA from Stanford University. She attended the Whitney Independent Study Program and completed a residency at Skowhegan. Fu has received grants from Art Matters, the Rema Hort Mann Foundation, the Harpo Foundation, and is a Guggenheim Fellow. Her artwork is included in the collections of the Whitney Museum of American Art (New York, NY); Pérez Art Museum (Miami, FL); Los Angeles County Museum of Art (Los Angeles, CA); MIT List Visual Arts Center (Cambridge, MA); and the Museum of Contemporary Art (San Diego, CA). Fu is a Professor of Visual Arts at the University of San Diego. Her art has been exhibited and featured in a wide range of projects and venues, including international museums such as The Contemporary in Baltimore, the Whitney Biennial, the Museum of Contemporary Art in Tucson, the Kadist Foundation in San Francisco, de Appel in Amsterdam, the IX Nicaragua Biennial in Managua, Henie Onstad Kunstsenter in Oslo, and LACMA. Fu has also been featured in exhibitions at university museums such as the University Art Gallery at UC Irvine, Cal Poly San Luis Obispo, and UC Riverside/California Museum of Photography, as well as in film screenings at the New York Film Festival, REDCAT, Anthology Film Archives, and the University of Chicago Logan Center for the Arts. Recent art commissions include projects for Deutsche Bank at Frieze LA, Orange Barrel Media, North City in San Marcos, the Katonah Museum of Art, LACMA, and Snapchat, Inc. She is currently working on artwork for a new LA Metro subway station with frequent collaborator Matt Rich.
Denja Harris is a San Diego–based artist whose practice engages with contemporary fiber art, soft sculpture, and installation. Combining deadstock and new yarns, her work navigates the intersections of materiality, function, and abstraction. Grounded in themes of healing, vulnerability, and softness, Denja explores how color, pattern, and texture function as sites of connection. Her practice is material- and process-driven, guided by a deeply intuitive and improvisational approach that allows her to respond in real time. This synergy between material and process shapes works that are as dynamic as they are intentional. Her use of color and distinct line-work convey a sense of vibrant energy and fluidity, using playfulness to challenge and reshape perceptions of hardness associated with Black womanhood. Through her art, Denja fosters a visual dialogue that gently encourages both self and viewer to stay soft in a world that wants to harden you. Denja’s work has been exhibited in solo and group shows, and featured in workshops and demonstrations at institutions such as San Diego City College, Mingei International Museum, McDonough Museum of Art, Oceanside Museum of Art, and others.
Mindfulness, organic simplicity, and modernity are concepts that spark my creativity. I didn’t set out to be an artist. As a kid, I was very active in sports. I grew up in New York City and went to business school in Boston, but it was in 1987, when I transferred to Pitzer College in Claremont, that I discovered ceramics. I completed the remainder of my coursework at Scripps College under professor Paul Soldner, the revolutionary inventor of American-style Raku. My ceramics studies in the U.S. led me to Midcentury Modernism, while my studies in Japan deepened my affinity for Eastern principles—an influence that continues to shape my work today. I am deeply guided by Hakomi, an experiential, mindfulness-based therapy rooted in Taoism. Hakomi emphasizes paying attention to what you’re experiencing in any given moment, and this allows me to stay focused on the clay as the form reveals itself. I am fascinated by the inner and outer landscapes of the creative process. When I start a piece, I don’t know where it’s going; I don’t have a preconceived shape or idea in mind. I simply allow my senses to engage and feel my way to the final result. The clay has a language—a way of communicating its limitations and strengths—and I tap into that dialectic to bring the form to life. My vessels, forms, and sculptures, whether from my *Josh Herman Fine Art* or *Josh Herman Studio* collections, are sensual and expressive, yet bold and vibrant as well. It’s the subtle interplay between these qualities, along with my unique volcanic glaze, that defines the hallmarks of my work. My latest endeavor is **Tao of Clay**, a community studio and school in San Diego’s Barrio Logan. I’ve long believed that working with clay offers a powerful path for personal expression, development, and discovery. Tao of Clay brings that vision to life by integrating ceramic practice with principles of Hakomi therapy, creating a space where technical exploration and inner awareness grow side by side. I live in La Jolla, CA with my wife, Rachel, and our two children, where we grow lots of fruit and exotic plants.
Dozer (Jeremy Priola), born in Buffalo, New York, grew up navigating hearing and verbal communication challenges—experiences that shaped him into a highly tactile and visually expressive person. Raised in a single-parent household, he spent his early years exploring construction sites with his father, where he began creating concrete sculptures, his first form of artistic expression. His early isolation and fascination with art, tattoos, and societal taboos helped shape his creative voice. Initially pursuing fashion design in college, Dozer spent seven years working in the industry before discovering clay— a medium in which he says he “finally found his voice.” Today, he works as an acoustic product engineer, but dedicates his most meaningful time to ceramics. His practice blends playfulness, emotional honesty, and physical engagement, often approaching the studio process as a kind of wrestling match with clay.
Walter Redondo, a native San Diegan born in 1958, was ranked the number one junior tennis player in the United States and has been recognized in the Hall of Champions and Hall of Fame for his worldwide tennis accomplishments. After traveling throughout the world with great success as a tennis professional, Walter felt the need to focus more time on his artistic endeavors. Painting has always been a burning passion of Walter's, coupled with his outstanding tennis career. As a self-taught artist, Walter began drawing as a small child and burst upon the local art scene in the fall of 1998. Influenced by Robert Motherwell, Willem de Kooning, Cy Twombly, and Joan Mitchell, Walter started experimenting with the abstract techniques which have become his unique trademark today. With a background in professional tennis, San Diego-based artist Walter Redondo’s fluid strokes on the court translate beautifully onto the canvas. Thickly applied paint in the vein of the midcentury colorists transforms the surface of the canvas into a sweeping fantasia of chroma and texture, all while retaining a remarkable compositional cohesion.
Georgina Reskala is a Mexican-Lebanese artist dealing with ideas of memory, history, and the power of narrative. She received her BFA and MFA from the California College of the Arts, San Francisco. Reskala’s work explores memory, history, and the power of narrative. Through repetition, her pieces question the distortion of history over time and engage with ideas of collective memory and our shared past. She has had numerous group and solo exhibitions, including Zona Maco (Mexico City), Seattle Art Fair, Photo LA, Pulse Miami, Photo Festival, Yixian China, and the Venice Institute of Contemporary Art, among others.
Matt Rich is a visual artist working with painting as expanded into architectural, social, and public modes of engagement. He received his MFA from the School of the Art Institute of Chicago, a BA in Visual Art and History of Art and Architecture from Brown University, and attended the Skowhegan School of Painting and Drawing. He has exhibited his work, both solo and collaboratively with Victoria Fu, at the Museum of Contemporary Art San Diego, La Jolla, CA; Kemper Museum of Contemporary Art, Kansas City, MO; New Visions: Triennial of Photography at the Henie Onstad Kunstsenter in Oslo, Norway; Orange County Museum of Art, Santa Ana, CA; Station Gallery at the Roski School of Art + Design at USC; the University of Massachusetts Boston; and Halsey McKay Gallery in East Hampton, NY. Recently, his collaborative work was featured in a series of public performances at the Getty Center in Los Angeles, and he received a commission to produce a permanent public art piece for the new VA/Westwood LA Metro station, set to open in 2028. In 2023, he was a resident and exhibited his work at the Timken Museum of American Art in San Diego. His work has been reviewed by Artforum, Art Papers, Modern Painters, the LA Times, the San Diego Union-Tribune, and The Boston Globe. In 2019, he received a fellowship from the George A. and Eliza Gardner Howard Foundation to support a year-long investigation into “Expanded Painting.” He is an Associate Professor at the University of San Diego.
Reinhart Revilla Selvik (b. 1987, Long Beach, CA) is a Los Angeles-based sculptor, painter, and installation artist whose practice navigates the intersections of memory and architecture. He explores the ways that lived histories are inscribed into individual perception, drawing material and form from sites of erasure and erosion. Selvik’s projects connect these shifting internal and external temporalities to the broader histories that inform how individuals construct identities within shared environments and looming systems of power. Reinhart attended the Haystack Open Studio Residency in Maine in 2025. He has recently exhibited at After Hours/DMST Atelier, Baryo HiFi, Megan Mulrooney Gallery, Phase Gallery, Floating Gallery, San Diego Art Institute, Eastside International, Actual Size, Mesa College, CAC Gallery, and Long Beach City College. His works are in the permanent collections of the City of San Diego, Clinicomp Intl., and the Haudenschild Foundation. He has painted murals and graffiti art in Canada, Mexico, the United States, and Europe over the last twenty-five years. In 2023, Reinhart was the lead artist and curator of Periphery, a large-scale, site-specific collaboration of murals on the UC San Diego Visual Arts facilities, and he was commissioned by Haudenschild Garage for the immersive installation Without Action: Fractured Faces in La Jolla, California. He was awarded the prestigious Jack Kent Cooke Foundation Graduate Art Award and holds a dual BA in Communication and Visual Arts from UC San Diego, as well as an MFA from UC Irvine.
Lizzie Zelter (b. 1996, New York, NY) is an artist based in San Diego, CA, where she runs Two Rooms, a gallery and project space. She creates paintings and installations with bizarre vantage points of everyday architecture and interior space. Her work explores the micro and macro infrastructure of urban life and the physical structures that produce our built environment. By utilizing reflection and fragmentation in her compositions, she morphs scale and perspective to decontextualize and disguise commonplace objects and places. Zelter received her MFA in Visual Arts from Columbia University’s School of the Arts in 2022 and a BA in Global Cultural Studies from the Program in Literature at Duke University in 2018. Her work has been exhibited at Untitled Art Miami Beach, Miami, FL with Jane Lombard Gallery; Spring/Break Art Show and Winston Wächter Fine Art in New York, NY; at the Athenaeum Art Center in San Diego, CA; and internationally at Gallery II in Tel Aviv, Israel, and Estación Tijuana Libertad, Tijuana BC, Mexico. Wall Plates at Sala de Espera in Tijuana BC, Mexico, is her first solo show.
All artwork images photographed by Stacy Keck
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