WCA BOARD & COMMITTEES

Sandra D. Davis is an artist that likes to experiment with materials and mediums, with a focus on mixed media, utilizing components like acrylics, found paper, newspaper and magazines, keeping a recycled theme.  Sandra’s current work is a direct response to social issues happening in our country, including present grievances, in- equality and identity of others.

Issues such as Equal Pay, Health disparity, housing and education and the continued assault on men and women of color are all topics that remain a real concern.  In this era of social media, we are bombarded by tweets, instant messaging, Instagram pics are quick snapshots of capturing current events are platforms for inspiration.

The impacted parties are not only the same groups of people, but the fight has been recycled and re-emerged and refocused.  This has created new fraternities and sororities that has a broader reach and now includes a new generation of how society and people in power want to identify.  Her images can be found on various surfaces including tabletops, tote bags and wearable art. Sandra regularly participates in exhibitions throughout Maryland, DC and Virginia.

Sandra serves as the Exhibition Committee Chair for Women’s Caucus for Art Greater Washington. https://wcadc.org, she also serves as a president-elect for the National Women’s Caucus for Art.

Luner’s artwork allows for contemplation and interpretation on a multitude of interrelated levels: visual, intellectual, and historical.
Form, color and craftsmanship are all important factors, even when she uses materials that are not considered conventional art materials. Often, she uses industrial products like styrofoam as a substrate and a variety of organic substances stabilized with acrylic mediums: tortillas, muffin wrappers, coffee filters, dryer lint among many others.

Reinforcing her desire to have the work read on a variety of levels, the titles often reflect an ambivalence towards the viewer/consumer, the interpretation process, the art market, or the piece itself. She also enjoys a humorous approach, often using a play of words or ironic suggestions like in the titles: We Won’t Give or this latex piece might outlive your lifespan. However, her work rarely takes on a purely ironic stance, and when it does, it usually involves some kind of criticism directed at the male dominated art market, the ‘old boys club’, or the male-centric historic narrative. Art For Art’s Sake Is A Luxury Women Just Can’t Afford, a mounted piece of plastic junk, or Holy Baloney, a sausage made from a bible are perfect examples. She might also refrain from titling a work to invite a matter-of-fact approach, refusing to guide the viewer into any pre-fabricated point of view. For example, all the pieces in the styrofoam/packaging-peanut/bandage series are Untitled. In general, she prefers a serial approach, one of which escalated in 1996 into a 256 part series: The Office Coffee And Cake Piece, in which she made a painting for each workday of the year of 1996.

Over the years, her work transformed from the early 1980s figurative expressionist style practiced in Berlin where she studied and received her MFA, to her Super 8 movies, to the abstract feminist works of the 1990s, to her current abstract organic approach. These shifts have been important stages in clarifying and defining her artistic vision. 

In 2016, she moved to Upstate NY and rediscovered her love for plants and mushrooms, and now spends most of her free time gardening and tending her chickens.

Born in East Los Angeles, Dellis Frank is currently a full-time artist focusing on social justice, nature, and decorative art. Her passion is visual art, specifically fiber sculptures and Arts Education. She taught in the Los Angeles Unified School District for over 20 years where she was a staunch advocate for Arts Education for all students. Dellis participated in and advocated for the writing of the Media Arts curriculum and standards as a stand-alone discipline. 

Much of Dellis’ current work centers around social justice issues that are impacting the nation. Her passion for speaking up about the disparities she sees in communities of color is evident in her work. She does so with an environmental slant. Repurposing items that were headed for the landfill is the foundation of her practice. She has coined the phrase The Greening of Fine Art to capture the essence of her practice. When conceptualizing and constructing her work she takes the same approach she does with her cooking, “Vibration Cooking” which, in a nutshell is an intuitive approach. In her own words “I paint with fibers. I begin with a color family and wrap different items of varying shapes and when I feel I have enough or have exhausted the types of wrapping and weaving techniques I know, I begin the assembly. I watch as the structure emerges, and my assemblage is completed.” In many pieces you can see how important symbolism and color is to her as she pushes the observer to look into themselves and explore their desires, biases, and life experiences.

She currently sits on the board of several arts organizations which include Women’s Caucus for Art (WCA), Southern California Women’s Caucus for Art (SCWCA), SoLA Contemporary Gallery in Los Angeles (SoLA) and Palos Verdes Art Center (PVAC) Third Dimension. Dellis works with numerous community organizations that focus their attention on the arts. These organizations include LA Commons, International Eye Los Angeles, the Empowerment Congress of the second congressional district of Los Angeles, Arts for LA, Textile Arts LA, Fiber Art Now and the Cultural Arts Department of Los Angeles, specifically the advisory committee of the Cultural Equity and Inclusion Initiative. 

Mrs. Frank has had numerous group and solo gallery showings in the US and internationally. Her work was featured on Peacock TV in the show titled Bel Air. Publications include “Conversations with Dellis Frank, Voyage LA”, The Gallery BeFrank Photography and numerous exhibition catalogs. 

Dellis is a wife, mother of three and grandmother of two. She resides in Lomita, California.