“Although there is a significant segment of the L.A. art world that thinks amorality is the truth, they are wrong. There is good and evil, not just a shifting ground of relative values. The truth about our situation lies in the perception of what is good and what is evil. Without a moral compass, the social fabric disintegrates just as the physical world would be thrown asunder without gravity. Moral truth is art’s gravity.”

From “The Fate of the M Word”
Los Angeles Times

“In one photo collage, we see only a woman’s upper back. Her shoulders are streaked by the delicate straps of what must be a soft slip. Yet in the secret place between these satin borders she has been branded with a large X, knife scratches and whip slashes. On the most obvious level, she is the battered woman. But Christina Fernandez’s decision to convey the image in a negative print allows us to see beneath and before the inner hurt. We are taken deep into her emotional damage, beyond the surface and into the psyche. More than a simple statement about wife beating, more than a visual commentary on the social bondage of women, it becomes an unblinking gaze at the memory of inflicted pain in all its grotesque permutations.”

From “Illuminating the Invisible”
Los Angeles Times

“We can no longer afford to see art in a decontextualized frame, literally walled in by the ideology implicit in the passive museum or gallery space. For many people, art is apolitical, detached from daily life and our pressing social concerns. I would argue that, like everything else, it is essentially tied to the social environment. It can never be pure or autonomous.”

From “Viewpoint of an L.A. Intellectual”
Artweek Magazine

“In ancient Catholic images, even as late as the sixth century, Satan was portrayed as a beautiful, winged, and haloed angel in blue robes. Blue symbolized the lowest heavenly ether, farthest from God and closest to humans. To know this and then watch business professionals march past the blue-robed angel toward the elevators of the World Center Tower lobby in downtown Los Angeles is to realize that Koman and Melamid may well have had Milton’s words about the most famous of all fallen angels in mind: ‘With grave aspects he rose, and in his rising seemed a pillar of state…princely counsel in his face yet shone, majestic though in ruin.’ In many ways that describes what the dream of Los Angeles has become—a majestic ruin, suspended not in a celestial firmament but in a manmade hell, where demons cloak themselves in the finery of idealism.”

From “Angels’ Flight”
Art Issues