In the Curator's Words: In Oceanside, a look at the richly layered and diverse art of printmaking
In the Curator's Words is an occasional series that takes a critical look at current exhibitions through the eyes of curators.
Artist and independent curator Danielle Deery has always had a deep sense of curiosity about printmaking, so it was no surprise that she would eventually endeavor to organize an exhibit that takes a look at the craft.
At Oceanside Museum of Art, she has curated an expansive exhibition titled "Matrix Multiplied: Hybrid Approaches to Printmaking," on display through Aug. 2.
Deery took some time to talk about the exhibition, how it came to be in Oceanside and the inspiration behind it.
Q: What was the inspiration behind this exhibition?
A: The inspiration for the exhibition began in 2024, when I started teaching screen printing at Pacific View Arts Center in Encinitas. I was deeply curious about the medium and interested in how contemporary artists are incorporating printmaking into their creative practices. As I began researching local printmakers, I discovered the work of Frol Boundin. After seeing his extensive collection of prints and talking with him about other printmakers in California, I was inspired to organize an exhibition that highlights the diversity, experimentation and contemporary approaches emerging within the printmaking community today.
Q: How did this exhibition end up at the Oceanside Museum of Art?
A: I have been curating exhibitions at Oceanside Museum of Art since 2009. I previously served as OMA's Director of Exhibitions and Marketing, and in 2014 I launched my own independent curatorial practice. Since then, I have continued collaborating with the museum on a number of exhibitions. I brought my exhibition proposal to OMA because of the museum's commitment to sharing the stories of Southern California artists, which has become a focus of my curatorial work. When I presented this exhibition idea, I learned that OMA's Executive Director Maria Mingalone had previously served as Executive Director of Lower East Side Print Shop, and she was excited to see the innovative work being created by printmakers in our own community. The exhibition ultimately became a synergistic alignment between the museum's mission and the growing momentum surrounding contemporary printmaking in Southern California.
Q: You curated this exhibition, but you are also an amateur printmaker. How did your background in printmaking help you as you were working on putting this show together?
A: Having firsthand experience with printmaking gave me a deeper appreciation for the technical skill, experimentation and labor involved in creating the works featured in the exhibition. I knew how hard it was to register an image, work in reverse, and achieve your desired outcome after many attempts. It also allowed me to engage with artists not only about the narratives and concepts behind their work, but also about the matrices, tools, materials and layered processes used to produce each piece.
Q: Printmaking is such a niche artistic endeavor. How difficult was it to connect with fellow printmakers in the region - in Tijuana, San Diego and Los Angeles?
A: Although the printmaking community is relatively small, I found it to be incredibly generous, collaborative and well-connected. I am especially grateful to artists Frol Boundin, Chris Lahti and Chris Padilla for introducing me to many of the artists working throughout the region. Frol Boundin, in particular, connected me with several printmaking faculty members from MiraCosta College, California State University Long Beach, Southwestern College and San Diego Mesa College. As my research expanded, I reached out to curators, educators and arts professionals including Alessandra Moctezuma, Jordan Karney Chaim, Diane Mcleod and Xavier Fumat for recommendations and insight. Organizations such as the Los Angeles Printmaking Society, the University of San Diego and the Athenaeum Music & Arts Library were also invaluable resources throughout the curatorial process.
Q: What was the most challenging part of your role as a curator?
A: One of the most challenging aspects of curating the exhibition was creating a dynamic and cohesive presentation that balanced a wide range of media, techniques and scales. I was especially interested in including matrices (the surfaces used to create and transfer an image onto another substrate) from several of the featured works so visitors could better understand the printmaking process. Determining how and where to display those materials within the gallery took some experimentation. Ultimately, the matrices were installed together on a dedicated wall, and I developed a "hide-and-seek" style educational activity that encouraged visitors to explore and learn more about the various substrates and techniques used by the artists.
Q: The most rewarding?
A: The most rewarding part of the experience has been seeing the exhibition fully realized in the gallery, having the opportunity to share the stories behind the artworks with the community, and helping to educate the public about how dynamic and compelling printmaking can be. It is especially meaningful to watch the artists experience their work within the museum setting and to witness the excitement, and reflection that comes with that moment.
Q: Tell us what viewers can expect to see in this exhibition?
A: Visitors will experience the work of 18 artists: Frol Boundin, Michelle Burgess, Jennifer Chen, Evelyn Contreras, Steve Gibson, Bill Kelly, Chris Lahti, Kelvin Lopez, Joan Mathison, Kimiko Miyoshi, Chris Padilla, Yvette Roman, Casey Rubenfeld, Sibyl Rubottom, José Hugo Sánchez, Neil Shigley, Tava Tedesco and Clay West - all of whom reimagine conventional notions of printmaking through hybrid approaches. Many of the works combine two or more printmaking techniques, blending traditional methods (such as relief, intaglio and lithography) with digital technologies or incorporating media such as collage, drawing, sculpture and fiber arts to create richly layered, multidimensional works demonstrating the incredible versatility of the medium today.
Q: What do you hope viewers will take away from seeing the show?
A: I hope visitors come away with a greater understanding that printmaking is an accessible and approachable medium, one that invites experimentation and can be explored by artists at many different skill levels. Printmaking has a rich history, but it also offers endless opportunities for innovation, collaboration and personal expression.
Oceanside Museum of Art presents "Matrix Multiplied: Hybrid Approaches to Printmaking"
When: Through Aug. 2
Where: Oceanside Museum of Art, 704 Pier View Way, Oceanside
Admission: $15 adult; $10 seniors 65 and up; free for members, youth 17 and under, college students with I.D., and active military and dependents with I.D.
Phone: 760-435-3720
Online:oma-online.org
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This story was originally published June 21, 2026 at 5:59 AM.