Helmuth welcomes Creative Catalyst Artist Fellow Bridget Rountree.

Opening Saturday 4.12.14, 6-10PM
‘Valuable Content is a mixed media art exhibition juxtaposing social, political, and art historical imagery as a way to question perceived value and generate discussions of content within a visual language. Challenging dualistic representations of the savior and saved, winner and loser, victim and rescuer to query the ideas and philosophies that lead to hierarchical structures of thought. A simultaneity of perspectives occur by reading one image through the other, potentially opening a new space between what is considered to be known and unknown. Exploring found imagery as a way to revitalize, reorganize, and reveal the possibility of new relationships amidst previously defined histories. The artist inquires into the way visual and physical forms and patterns become representative of what we know of ourselves, the relationship between the self, the objectified, and nature. Looking at how objects and images suggest how we think, what we believe, and how we live. The works look at the everyday world with the idea that we are not only passively interacting with the environment; we are actually actively thinking it.’

Artist Talk Saturday 5.3.14 3-4PM


(everything you know is wrong)

“What distinguishes Matt Bradley’s investigation of conspiracy theories is the lack of cynicism with which he approaches these narratives. The mythologies he tackles are ambitious in their speculations. They beg us to abandon our certainty about the laws of physics, society, and human progress. But viewers won’t find a hint of the clichéd conspiracy theorist’s cluttered basement so often imagined in film here. Rather, the artist shows deference towards these theories by elevating their associated iconography to the status of objects and images of meditation. Bradley’s installation is the shrine that a devoted conspiracist would construct to persuade others to join his cause.

At the core of this collection of sculptural objects and video works is a longing on Bradley’s part for the ideas they stand in for to be true. Though he takes on grand theories of sacred geometry and the new world order, his desire to find truth – or perhaps more accurately, validate his own doubts – is most poignantly reflected in a quiet video that juxtaposes footage of the illusive bigfoot with that of musician Nick Drake – supposedly walking through a crowd at a concert. Does Bradley believe that’s really Drake’s lanky form captured on film? He can’t prove that it’s not, just as he can’t prove that the technology used to construct the pyramids wasn’t handed down by an alien race, or that a secret elite society will one day impose an authoritarian world government.

Through his presentation of the signs and symbols that collectively represent the mythology of conspiracy, Bradley invites us to embrace skepticism and doubt. Everything you know just might be wrong.” -L Lockhart

matthew bradley


New work by San Diego/Los Angeles-based painter Julian Rogers.
Weaving a wide spectrum of colors into intricate textures, Rogers’ paintings are an attempt to distort relatable images of domestic life, taken from found Super 8 home movies from the 60’s and 70’s, to the point where they absorb the ambitions of abstract painting and speak to the fallibility of memories.

Opened December 7th, 2013
Artist Talk moderated by Alexander Jarman January 4th, 2014

Object Object!

Helmuth Projects and good good things present Object Object!: A Selection of Smaller Works

closing reception: 11.23.13 2-5 pm
panel discussion: 11.23.13 1-2 pm


Featuring works by an amazing roster of seventy-one national and international artists, Object Object!: A Selection of Smaller Works is a curated exhibition aiming to present a diverse group of excellent small works to a diverse audience. good good things believes that there is both a power and a preciousness in smaller works. We also believe in facilitating the visibility and accessibility of art we love. Because of this, all artists in the exhibition have been asked to work within specific scale and pricing constraints outside of their normal practice. All exhibited works will not exceed 10” in any direction and will be priced between 100-300 dollars. The exhibition catalogue will feature essays by Lara Bullock and Lauren Lockhart.

good good things is the curatorial project of artists John Oliver Lewis and Jessica McCambly that aims to support a thoughtful and dynamic, artist-driven community through select exhibitions and events.

Initially established as an exhibition space in Dallas, Texas in 2007,
good good things exists today as a transitory project that is based in San Diego, California.

good good things
John Oliver Lewis & Jessica McCambly

Object Object!: A Selection of Smaller Works
Featuring works by:

Anila Quayyum Agha/ Indianapolis, IN
Jennifer Anne Bennett/ San Diego, CA
Rebekah Bogard/ Reno, NV
Matthew Bourbon/ Denton, TX
Sean Brannan/ San Diego, CA
Candace Briceno/ Austin, TX
Rebecca Carter/ Dallas, TX
John Chwekun/ San Diego, CA
Beau Comeaux/ Albany, NY
C.J. Davis/ Dallas, TX
Tom Driscoll/ San Diego, CA
Kelly Eginton/ La Mesa, CA
Vincent Falsetta/ Denton, TX
Denis Farrell/ Aubepierre-Sur-Aube, Champagne-Ardenne, France
Anya Gallaccio/ La Mesa, CA
Steve Gibson/ San Diego, CA
Damien Gilley/ Portland, OR
Brian Goeltzenleuchter/ San Diego, CA
Shelley Hampe/ Dallas, TX
Joanne Hayakawa/ San Diego, CA
Matthew Hebert/ San Diego, CA
John Brinton Hogan/ San Diego, CA
Jeff Irwin/ San Diego, CA
Alexander Jarman/ San Diego, CA
Heather L. Johnson/ New York, New York
Lance Jones/ Dallas, TX
Jennifer Leigh Jones/ Denton, TX
Wendell Kling/ San Diego, CA
John Oliver Lewis/ San Diego, CA
Linda Lopez/ Fayetteville, AR
Natalie Macellaio/ Plano, TX
Kirsten Macy/ Los Angeles, CA
May-Ling Martinez/ San Diego, CA
Bob Matheny/ San Diego, CA
Jessica McCambly/ San Diego, CA
Jeff Mueller/ Chicago, IL
Nikko Mueller/ San Diego, CA
Ingram Ober/ La Mesa, CA
Titus O’Brien/ Albuquerque, NM
Keri Oldham/ Brooklyn, NY
Harmony Padgett/ Dallas, TX
Joe Page/ Walla Walla, WA
Julon Pinkston/ Houston, TX
Scott Polach/ San Diego, CA
Justin Quinn/ St. Cloud, MN
Sasha Koozel Reibstein/ La Mesa, CA
Marisol Rendon/ La Mesa, CA
Allison Renshaw/ Leucadia, CA
Leisa Rich/ Atlanta, GA
Danielle Riede/ Indianapolis, IN
Philipp Scholz Rittermann/ Escondido, CA
Lesli Robertson/ Highland Village, TX
Jason Sherry/ San Diego, CA
Rusty Scruby/ Dallas, TX
Brian Spolans/ Ysplanti, MI
Raychael Lynn Stine/ Albuquerque, NM
Eva Struble/ San Diego, CA
Shannon Sullivan/ Eureka, CA
Takako Tanabe/ Brooklyn, New York
Perry Vasquez/San Diego, CA
Jones von Jonestein/ La Mesa, CA
Stephanie Wagner/ Los Angeles, CA
David Willburn/ Fort Worth, TX
Sarah Williams/ Springfield, MO
David White/ San Diego, CA
Mike Whiting/ San Diego, CA
Allison Wiese/ San Diego, CA
Joe Yorty/ San Diego, CA
Lindsay Preston Zappas/ Los Angeles, CA
John Zane Zappas/ Los Angeles, CA
Dave Zdrazil/ Eureka, CA

Phantom Gardens Fortified Cities (monuments)

Robert Andrade and Timothy Earl Neill

fall 2013

Phantom Gardens Fortified Cities is an on-going project which questions the allure of the contemporary public space including malls, parks, squares, and museums through monumental sculpture, landscape architecture and commercial imagery.

By creating identifiable references to significant spaces throughout time and history, Andrade and Neill aim to critique these environments and explore the psychological impact these arenas have on the experience of an average human life and society as a whole.

Rob Andrade Timothy Earl Neill

Bain de Mer

Andrea Chung

Summer 2013

“My work is an exploration into materials and their relationships with post-colonial countries. I am interested in the imbued histories that materials, such as sugar, carry and how they also carry with them the stories of human transmission and the long lasting effects of colonialism on tropical ‘post-colonial’ societies such as the Caribbean and the Indian Ocean. I have experimented with the idea of ‘raw materials,’ both sugarcane and spices, to discuss how trade and globalization, both now and in its infancy, have affected these locations in terms of migrations and cultural and economical development. The colonial addiction to sugar demanded the transport of millions of people to Caribbean and islands of the Indian Ocean such as Mauritius, Madagascar, Seychelles and Reunion.

“After the abolition of slavery on the island of Mauritius, many newly freed Creole slaves became fishermen and subsequently established small fishing villages, particularly in the southern part of the island, rather than return to the cane fields to work for their former enslavers. Many of these fishing villages remain today and these fishing traditions have been passed down for generations. However, due to over fishing by illegal foreign ships, the trade is rapidly disappearing.

“This residency will result in an exhibition entitled, Bain de Mer, and will comprise of two pieces, and installation (Bato Disik) and a video projection (Bain de Mer). Bato Disik is an installation with a large water bath, filled with multiple boats, similar to the batos used by Mauritian fishermen in their villages, cast out of sugar. Over time the boats disappear, mirroring the disappearance of the fishing trade in Mauritius. Along with the sugar batos is Bain de Mer, an 8 min. video that is inspired by the tragic story of Le Morne, a coastal mountain in Mauritius where an entire village of escaped slaves leapt to their deaths to avoid recapture.” -AC

Bain de Mer is a residency project beginning in August and will be open to the public by appointment. Closing reception August 31st.

Andrea Chung is currently living and working in San Diego. Chung, a Fulbright Scholar Fellow, earned her BFA from Parsons and an MFA from Skowhegan. She has exhibited throughout the United States, the Caribbean and Africa.


Morgan Manduley

“The artist who aims for perfection in everything achieves it in nothing.”- Eugene Delacroix

“Do I have to get up and go to work? Should I crawl into my bed and stop producing things all the time? Is it still ok to fail?”
- excerpts from Gilbert & George’s To be with art is all we ask

The Futility of Trying new work by Morgan Manduley


Joe Yorty

Joe was born and raised in the southwest corner of the state of Utah and spent his junior high and high school years in Escondido, California. Much of the time between then and now is filled with almost 11 years of service in the U.S. Navy. Currently, Joe is gainfully employed by the Department of Art, Architecture + Art History at the University of San Diego as their Facilities Manager. There he is generously provided with a studio where he engages in the development of an art practice that meaningfully integrates his obsession with second-hand shopping. He completed a Master of Fine Arts in Visual Art at UC San Diego in 2012

Before I Start

Lena Lapschina

Lena used a pencil to trace the shadows from the sun through the front of the gallery on her first day in residence. It was 2pm on the last afternoon of Daylight Saving Time. She worked quickly to capture the moment and spent the rest of the week manipulating red duct tape to compose the 15′ drawing. The result was a beautifully graphic site-specific installation and a fitting first effort at our new location.

The work continued to evolve during Lena’s stay, influenced by the cumulative experience of exploring San Diego. One wall held two parallel lengths of white tape that documented an overheard conversation shouted from opposing sides of a downtown street.

Before I Start was an observant installation. It was like seeing somebody see your hometown for the very first time.

The Strawberry Thief

Colin Tuis Nesbit and Bill Conger

Helmuth Projects is proud to present The Strawberry Thief, new work by Colin Tuis Nesbit & Bill Conger.

From the artists:

‘In 1883, poet, painter, and most notably textile designer, William Morris produced the classic pattern The Strawberry Thief. The pattern depicts thieving thrushes with their strawberry loot amid a multi-hued, flowering thicket.

Set within the context of sculpture and installation based works, the exhibition both takes its title from the arguably most famous of Morris’ patterns, and uses the subject as a point of departure in shadowing the strategies used within the exhibition and contemporary art as a whole.

The installation’s austere simplicity—sculptural objects chosen by Conger placed within a light-based work by Nesbit which mimics the sensation of moonlight—becomes even more haunting in “light” of the Morris pattern.’

Colin Tuis Nesbit

Bill Conger