Community Calendar

Siji Krishnan’s paintings invite viewers into a world where memory, myth, and daily life intertwine. Working primarily on delicate rice paper, she builds up translucent layers of watercolor and oil to reveal figures, landscapes, and hidden details. Her images often feel dreamlike—ponds shimmering with light, grasses bending in the rain, or figures dissolving into their surroundings—suggesting the ways that identity, home, and belonging are shaped by both what we see and what lies beneath the surface.

The exhibition The Secret Place brings together recent works from Krishnan’s Los Angeles debut, alongside five new large paintings created in her studio in Kerala, India. In these new works, Krishnan replaces her more figurative elements with water, plants, and sky. The natural world of her home—backwaters, monsoon rains, and village ponds—becomes a central motif, a site of both refuge and transformation. Themes of fertility and motherhood, community, and renewal flow through her practice, informed by her experiences of raising a child and the shifting boundaries between self and environment.

Krishnan’s art asks us to look slowly and closely. Small details emerge—an animal, a flower petal, a shadow of a figure—like secrets discovered over time. Both intimate and expansive, her paintings transcend cultural and geographic boundaries, embodying the Upanishadic (ancient Indian sacred philosophical texts) philosophy vasudhaiva kutumbakam: “the world is one family.”

Bay Area–based artist Julia Goodman creates hand-formed paper sculptures from reused textiles, expanding the possibilities of handmade paper through a focus on sustainability, texture, and history. Drawing on the overlooked tradition of gathering rags for papermaking, she collects cotton bedding and t-shirts from family, friends, and thrift stores. These materials—embedded with traces of everyday life—bring forward the unseen labor of women and caretakers, past and present. Goodman tears and pulps the fabrics, forming and pressing them into shapes and textures that recall the moon, the imprint of her gripped hand, and the folds of bedsheets and t-shirts. Colors emerge directly from the original fabrics or by mixing together differently-colored fabrics—without dyes or pigments. In recent work, washes of watercolor respond to layered shapes and surfaces in her work.

For her exhibition at SLOMA, Goodman offers tactile, alternative ways to experience time. The wrapped sculpture An Unimaginable Unit of Time, begun in March 2020, marks the personal and collective passing of days during the pandemic. Each day, she formed an imprint of her grip in pulp along strips of torn bedsheets, resulting in a continuous line that ultimately stretched 0.95 miles. In Waning and Waxing, Goodman carves moon phases into large textured calendars, recording the eleven months she mourned her father and, years later, the nine and a half months of her pregnancy. Through handmade materials and labor-intensive rituals, Goodman’s work holds space for cycles of love and loss, connecting us to the rhythms of time.

Siji Krishnan’s paintings invite viewers into a world where memory, myth, and daily life intertwine. Working primarily on delicate rice paper, she builds up translucent layers of watercolor and oil to reveal figures, landscapes, and hidden details. Her images often feel dreamlike—ponds shimmering with light, grasses bending in the rain, or figures dissolving into their surroundings—suggesting the ways that identity, home, and belonging are shaped by both what we see and what lies beneath the surface.

The exhibition The Secret Place brings together recent works from Krishnan’s Los Angeles debut, alongside five new large paintings created in her studio in Kerala, India. In these new works, Krishnan replaces her more figurative elements with water, plants, and sky. The natural world of her home—backwaters, monsoon rains, and village ponds—becomes a central motif, a site of both refuge and transformation. Themes of fertility and motherhood, community, and renewal flow through her practice, informed by her experiences of raising a child and the shifting boundaries between self and environment.

Krishnan’s art asks us to look slowly and closely. Small details emerge—an animal, a flower petal, a shadow of a figure—like secrets discovered over time. Both intimate and expansive, her paintings transcend cultural and geographic boundaries, embodying the Upanishadic (ancient Indian sacred philosophical texts) philosophy vasudhaiva kutumbakam: “the world is one family.”

Bay Area–based artist Julia Goodman creates hand-formed paper sculptures from reused textiles, expanding the possibilities of handmade paper through a focus on sustainability, texture, and history. Drawing on the overlooked tradition of gathering rags for papermaking, she collects cotton bedding and t-shirts from family, friends, and thrift stores. These materials—embedded with traces of everyday life—bring forward the unseen labor of women and caretakers, past and present. Goodman tears and pulps the fabrics, forming and pressing them into shapes and textures that recall the moon, the imprint of her gripped hand, and the folds of bedsheets and t-shirts. Colors emerge directly from the original fabrics or by mixing together differently-colored fabrics—without dyes or pigments. In recent work, washes of watercolor respond to layered shapes and surfaces in her work.

For her exhibition at SLOMA, Goodman offers tactile, alternative ways to experience time. The wrapped sculpture An Unimaginable Unit of Time, begun in March 2020, marks the personal and collective passing of days during the pandemic. Each day, she formed an imprint of her grip in pulp along strips of torn bedsheets, resulting in a continuous line that ultimately stretched 0.95 miles. In Waning and Waxing, Goodman carves moon phases into large textured calendars, recording the eleven months she mourned her father and, years later, the nine and a half months of her pregnancy. Through handmade materials and labor-intensive rituals, Goodman’s work holds space for cycles of love and loss, connecting us to the rhythms of time.

Siji Krishnan’s paintings invite viewers into a world where memory, myth, and daily life intertwine. Working primarily on delicate rice paper, she builds up translucent layers of watercolor and oil to reveal figures, landscapes, and hidden details. Her images often feel dreamlike—ponds shimmering with light, grasses bending in the rain, or figures dissolving into their surroundings—suggesting the ways that identity, home, and belonging are shaped by both what we see and what lies beneath the surface.

The exhibition The Secret Place brings together recent works from Krishnan’s Los Angeles debut, alongside five new large paintings created in her studio in Kerala, India. In these new works, Krishnan replaces her more figurative elements with water, plants, and sky. The natural world of her home—backwaters, monsoon rains, and village ponds—becomes a central motif, a site of both refuge and transformation. Themes of fertility and motherhood, community, and renewal flow through her practice, informed by her experiences of raising a child and the shifting boundaries between self and environment.

Krishnan’s art asks us to look slowly and closely. Small details emerge—an animal, a flower petal, a shadow of a figure—like secrets discovered over time. Both intimate and expansive, her paintings transcend cultural and geographic boundaries, embodying the Upanishadic (ancient Indian sacred philosophical texts) philosophy vasudhaiva kutumbakam: “the world is one family.”

Bay Area–based artist Julia Goodman creates hand-formed paper sculptures from reused textiles, expanding the possibilities of handmade paper through a focus on sustainability, texture, and history. Drawing on the overlooked tradition of gathering rags for papermaking, she collects cotton bedding and t-shirts from family, friends, and thrift stores. These materials—embedded with traces of everyday life—bring forward the unseen labor of women and caretakers, past and present. Goodman tears and pulps the fabrics, forming and pressing them into shapes and textures that recall the moon, the imprint of her gripped hand, and the folds of bedsheets and t-shirts. Colors emerge directly from the original fabrics or by mixing together differently-colored fabrics—without dyes or pigments. In recent work, washes of watercolor respond to layered shapes and surfaces in her work.

For her exhibition at SLOMA, Goodman offers tactile, alternative ways to experience time. The wrapped sculpture An Unimaginable Unit of Time, begun in March 2020, marks the personal and collective passing of days during the pandemic. Each day, she formed an imprint of her grip in pulp along strips of torn bedsheets, resulting in a continuous line that ultimately stretched 0.95 miles. In Waning and Waxing, Goodman carves moon phases into large textured calendars, recording the eleven months she mourned her father and, years later, the nine and a half months of her pregnancy. Through handmade materials and labor-intensive rituals, Goodman’s work holds space for cycles of love and loss, connecting us to the rhythms of time.

Siji Krishnan’s paintings invite viewers into a world where memory, myth, and daily life intertwine. Working primarily on delicate rice paper, she builds up translucent layers of watercolor and oil to reveal figures, landscapes, and hidden details. Her images often feel dreamlike—ponds shimmering with light, grasses bending in the rain, or figures dissolving into their surroundings—suggesting the ways that identity, home, and belonging are shaped by both what we see and what lies beneath the surface.

The exhibition The Secret Place brings together recent works from Krishnan’s Los Angeles debut, alongside five new large paintings created in her studio in Kerala, India. In these new works, Krishnan replaces her more figurative elements with water, plants, and sky. The natural world of her home—backwaters, monsoon rains, and village ponds—becomes a central motif, a site of both refuge and transformation. Themes of fertility and motherhood, community, and renewal flow through her practice, informed by her experiences of raising a child and the shifting boundaries between self and environment.

Krishnan’s art asks us to look slowly and closely. Small details emerge—an animal, a flower petal, a shadow of a figure—like secrets discovered over time. Both intimate and expansive, her paintings transcend cultural and geographic boundaries, embodying the Upanishadic (ancient Indian sacred philosophical texts) philosophy vasudhaiva kutumbakam: “the world is one family.”

The Simi Valley Family YMCA is hosting an Alumni Reunion and Open House on Thursday, October 23, from 5:00 p.m. to 6:30 pm to celebrate the YMCA’s 40th anniversary. The community is invited to join the celebration.

Since first opening its doors a little over 40 years ago, the Simi Valley Family Y has been a second home for generations of families. From swim lessons and summer camps to teen leadership programs, after-school enrichment, youth sports and fitness classes, the Y has touched tens of thousands of lives over the past four decades.

Guests can enjoy a walk down memory lane with a display of photos from the YMCA’s early years, reconnect with alumni and staff and hear about Y’s upcoming expansion plans, with construction slated to begin next year.

Beverages and light hors d’oeuvres will be served. The Simi Valley Family YMCA is at 3200 Cochran St. Event registration is required. To register, go to https://www.sevymca.org/events/ymca-alumni-happy-hour-open-house.

Bay Area–based artist Julia Goodman creates hand-formed paper sculptures from reused textiles, expanding the possibilities of handmade paper through a focus on sustainability, texture, and history. Drawing on the overlooked tradition of gathering rags for papermaking, she collects cotton bedding and t-shirts from family, friends, and thrift stores. These materials—embedded with traces of everyday life—bring forward the unseen labor of women and caretakers, past and present. Goodman tears and pulps the fabrics, forming and pressing them into shapes and textures that recall the moon, the imprint of her gripped hand, and the folds of bedsheets and t-shirts. Colors emerge directly from the original fabrics or by mixing together differently-colored fabrics—without dyes or pigments. In recent work, washes of watercolor respond to layered shapes and surfaces in her work.

For her exhibition at SLOMA, Goodman offers tactile, alternative ways to experience time. The wrapped sculpture An Unimaginable Unit of Time, begun in March 2020, marks the personal and collective passing of days during the pandemic. Each day, she formed an imprint of her grip in pulp along strips of torn bedsheets, resulting in a continuous line that ultimately stretched 0.95 miles. In Waning and Waxing, Goodman carves moon phases into large textured calendars, recording the eleven months she mourned her father and, years later, the nine and a half months of her pregnancy. Through handmade materials and labor-intensive rituals, Goodman’s work holds space for cycles of love and loss, connecting us to the rhythms of time.

Siji Krishnan’s paintings invite viewers into a world where memory, myth, and daily life intertwine. Working primarily on delicate rice paper, she builds up translucent layers of watercolor and oil to reveal figures, landscapes, and hidden details. Her images often feel dreamlike—ponds shimmering with light, grasses bending in the rain, or figures dissolving into their surroundings—suggesting the ways that identity, home, and belonging are shaped by both what we see and what lies beneath the surface.

The exhibition The Secret Place brings together recent works from Krishnan’s Los Angeles debut, alongside five new large paintings created in her studio in Kerala, India. In these new works, Krishnan replaces her more figurative elements with water, plants, and sky. The natural world of her home—backwaters, monsoon rains, and village ponds—becomes a central motif, a site of both refuge and transformation. Themes of fertility and motherhood, community, and renewal flow through her practice, informed by her experiences of raising a child and the shifting boundaries between self and environment.

Krishnan’s art asks us to look slowly and closely. Small details emerge—an animal, a flower petal, a shadow of a figure—like secrets discovered over time. Both intimate and expansive, her paintings transcend cultural and geographic boundaries, embodying the Upanishadic (ancient Indian sacred philosophical texts) philosophy vasudhaiva kutumbakam: “the world is one family.”