YOUR MOOD PROJECTS

Announcing our next Artist in Residence @jesyung “My practice connects process and material storytelling that deepen and honor my ancestral and collective relationships.  I primarily use craft based processes for the depth and emphasis on material as a form of storytelling, and process as energy transfer. Some of those processes include patchwork quilting, natural dyeing, photography, and herbalism. I draw inspiration from my research in Chinese ancestral worship, funeral rituals, lore, taoist divination and both traditional Chinese medicine and Celtic herbalism. Natural dyeing ties my intentional practice with plants and herbalism to my material art practice. Dyeing with medicinal plants has become a pathway to connect with plant relatives and ancestral relationships to plants. In traditional Chinese medicine the organ systems are thought to be associated with processing certain emotions. Fabric and patchworks stand in as the body or objects for the body, and the dyes, a visual and energetic manifestation of herbal medicine. The patchworks, imbued with plant medicine, act as altars, portals, or windows that help transmute and metabolize emotions. Recently, I’ve introduced the element of fire into my work. Recognizing smoke as another form that plant medicine takes shape. Drawing from memories of ritual ancestral offering through burning.” Last year I had the opportunity to experiment with field recording and ritual while working on an installation at 500 Capp Street. I compiled field recordings from various Bay Area park sites to create a soundscape of a journey towards clarity. The soundscape was played through the floors and walls of the space during a guided ritual at the closing of the show. During which participants responded to writing prompts about their desires for change and then burned our written responses as offerings to our ancestors. I lit sandalwood incense on the patchwork installation, leaving spiral shaped scorch marks on the surface of the patchwork to offer the fabric and herbal dyes to the open portal.

Join us on Saturday, February 28th, 6-8 PM for the closing of Insulation by @alicia_escott at @luckybreak.studios in celebration of her solo show and residency. This show began with a narrative of acorn woodpeckers, oak trees, chanterelles, and insulation foam exploring their entwined (and interrupted) stories and ecologies. As an installation, it expands metaphors of insulation and our loss of it, socially and biologically, in the face of a deepening climate crisis. It explores through reflection, doubling and a subtle meditation on images and mimicry. 5209 E. 8th Street, Oakland, CA 94601

Opening on February 14, 5-8 PM, is a solo show for @juditnavratil at @dreamfarmcommons . ‘Szívküldi Lakótelep: the urge for phygital, ludic communities’ is the culmination of years of research that resulted, recently, in a successfully defended PhD. During opening night, Judit will be presenting her research with a performance lecture, and with dreamy surprises by @xmiguelnovelo and @junctionkeepers . Szívküldi means heart-sent, and Lakótelep is the Hungarian word for social housing neighborhood. Show is curated by @selbysohn + @yourmoodprojects

❤️‍🩹UPDATE * do to a health issue the soft opening is canceled! Please join us for the closing event 2/28! Two and a half years ago, Selby Sohn invited me to have a solo show at @yourmoodprojects in SF. It felt so spacious to think in that timeframe. As many of you know Selby lost the space that held Your Mood last year. I’ve been so impressed to see this tiny special gallery reinvent itself over moving iterations already in its 3rd one in 2026! And as such I’m so excited to show this work as a joint offering by Your Mood Projects and @luckybreak.studios in the form of an evolving residency show with a soft opening Feb 1st and a closing party Saturday February 28th. Over time this work had become about insulation and the loss of it as we head collectively further down the steep path of rapid climate change. How fitting then that the 2+ year buffer for this show was eroded suddenly and then reconfigured equally suddenly. How fitting then that in this time of challenge, the community has come together to find distributed spaces for a Project Space that became suddenly placeless. I’m so grateful to work both with Selby and with Kyle at Lucky Break, I’m so excited to get to know this residency and studio program, these people. I’m also sad that this show envisioned by the bay in SF where I’ve been rooted for 23 years will manifest now in the east bay in Fruitvale instead. Yet this feels perfect too. In front of the gallery/residency there’s a redwood I’ll be getting to know all month. I want so much for San Francisco to give this little gallery a permanent home. We have lost too many spaces. We are getting too thin. We have lost our insulation. Deep thanks to @sinadehghani and the @lucidartfoundation for the image in this flyer. Also fire ice —- And heres to rain

Your Mood Projects is part of SKYLIGHT ABOVE at ATRIUM, a new art fair at @minnesotastreetproject during SF Art Week. We will be presenting Brooks Fletcher, Tessa Siddle, and Lanny Weingrod. Join us January 22–25, 2026. Opening reception Thursday, January 22. Free and open to the public. @atriumfair | atriumfair.com | @sf_artweek | #skylightabove2026 SKYLIGHT ABOVE is organized by @jruncio . @yourmoodprojects wall is curated by @selbysohn . @theintimatevessel is an Oakland-native and U.S. Army veteran, whose career spans over a decade of military photojournalism. He has an academic foundation in communications and fine arts. As an educator and artist, Fletcher bridges the gaps between sociology and pedagogy. He views the camera as a dual-purpose tool—both a recorder of experience and a vehicle for expression. Whether in the classroom or behind the lens, Fletcher’s practice is dedicated to helping others find agency through understanding their world through photography.   @othervixen is an artist, filmmaker, performer, and curator born and raised in San Francisco. They are the co-founder and co-curator of Almost-Public/Semi-Exposed, an annual showcase of public performance art, and the co-curator of the ATA Window Gallery. Their work is interested in making connections between nature, magic, mythology, and the imaginary.   @lanfordweingrod is a retired pediatrician, painter, and print maker based in Berkeley, CA, who has taken Public Education courses at SFAI since the 1970s. He makes images and text-like characters that transcribe stories that are on the edge of abstraction. His processes of printing and cutting paper draw on subliminal figures and actions that teeter between mystery and whimsey. IMAGES: 1. Infinite Birds by Tessa Siddle 2. Long Story Fragment by Lanny Weingrod 3. 602 Eddy Street by Brooks Fletcher

Announcing our next Artist in Residence @niveditamadigubba Nivedita Madigubba (she/her) was born and raised in India and is an interdisciplinary artist currently working from the unceded Muwekma Ohlone land. She sees materials as archives of embedded stories that shape collective memory.   In her current works, language itself becomes a material. Her practice is guided by her childhood memory of learning English in school and repeating a word as an imposition. She is interested in acts of learning and the material associated with them, including books across genres such as history, novels, philosophy, and mythology. As she learns to read literature written in Telugu/Sanskrit through their English translation, she often poses questions such as: What is (un)learned, fragmented and forgotten? These questions seep into her art practice to counter dominant memories and to visualize narratives that are non-binary, entangled, multiple and shapeshifting.   Nivedita holds a BFA from the San Francisco Art Institute (SFAI) and an MFA in Art Practice from the University of California, Berkeley. She received the Award for Recognition of Academic Achievement at SFAI and the Cadogan Award ‘23.

obscure object 1.75/76 : YOUR MOOD PROJECTS, a publication dedicated to @yourmoodprojects ❤️ "communication full of knots, absent of sails“ On Sept. 9th Obscure Object (obsobj) went in search for the "big hole“ outside of the @yourmoodprojects space. On Sept. 13th 2025 at @yourmoodprojects Last Mood, ObsObj asked your mood-ers: "what do you think of when you think of your mood?" these were their findings: Contributions by: @selbysohn @bl.__._._.a @end____less____lee @conceptualartdealer @othervixen thank you all who contributed. Absolutely none of this could have been done without you or Your Mood Projects. we shouldn’t have to say goodbye. limited edition prints: dm me or contact @yourmoodprojects for more details.

Announcing the last moment of The Last Mood, a closing on October 18, 6-8 PM The final show at @yourmoodprojects A group show with @othervixen @theintimatevessel @alicia_escott @lanfordweingrod @morgannnieto @sunshinechild69 @jilliancrochet @obviously_tma @bec_imrich @oaht.n @brenthayden.art @amyrlange @berilor @natashaloewy Owen Takabayashi @crystaleeleelee Ann Schnake @juditnavratil @biaescobar @clairedunn____ Thank you to the 170 artists, poets, musicians, and guest curators who have been part of this space over the past four years — all of you brought something incredible, something I will remember. I am still trying to fathom what it means to lose an experimental exhibition space, one that allowed the informal and the personal — moments outside of traditional institutions, that never asked for permission. I don’t have a good answer for that. I hope this is a new beginning. For now, let’s give Your Mood the closing it deserves.

A porta potty was installed last night at the opening of Your Mood Projects, (because the old warehouse space only has an upstairs bathroom) and as part of the work, I performed “Toilet Tax”. I made these riso printed tear away invoice sheets, and handed them out to gallery attendees while asking “Have you paid your Able-Bodied Bathroom Tax this year?” Re-envisioning collective responsibility of access in a world where accessibility (and everything) is going down the toilet. Generic downloadable template invoices for other disabled people to �utilize to come. thank you to the amazing @selbysohn @yourmoodprojects for including me and going along with a late night schedule send 2 sentence email and making it happen! And many thanks to @batherslibrary for the printing assist and @morgannnieto for the performance documentation. To pay your Able-Bodied Toilet Tax and help subsidize this accessible stall, VENMO 🚽 TO: /u/SelbySohn Image descriptions in alt text.

With so much sadness and undulating, rippling, ridiculous amounts of love, I am announcing The Last Mood, the final show at @yourmoodprojects , opening this Saturday, September 13, 6-9 PM. Performance by @conceptualartdealer at 6 PM. The Last Mood is a group show with Tessa Siddle, Brooks Fletcher, Alicia Escott, Lanny Weingrod, Morgann Nieto, Hannah Moller, Jillian Crochet, tamara suarez porras, Bec Imrich, Nancy Nguyen, Brent Hayden, Amy Lange, Beril Or, Natasha Loewy, Owen Takabayashi, Crystal Lee Stone, Ann Schnake, Judit Navratil, Beatriz Escobar, and Claire Dunn. Shout out to @othervixen who sacrificed their solo show that we have been planning for two years to allow 20 other artists to show in this space. At a time when the entire world is on fire, I keep grappling with what it means to also be losing my favorite place. I’ve been shocked into experiencing the most intense gratitude that I’ve ever experienced in my life. During the last closing, I could not believe how beautiful my friends are and how funny, and how much I adored the art on display. As Ann notices, I do the work of four different people at once — running at the speed of light, doing everything for everyone quickly before I forget, sometimes failing, sometimes falling flat on my face because I want these things to happen so badly (I want artists to have the shows they deserve!) I am so happy now that I did it all because now it is gone. There is nothing like loss to get you to suddenly appreciate everything: I have been forced to stop and witness. Within this intensity, I also want this to be a moment of savoring — to focus on the community we forged and to carry that community forward. Installing this last show was so moving. Your Mood will live on.

the closing reception of Charms of Seraphim is approaching 💛 and I'd like to invite anyone who'd still like to see this body of work to come through! Its been an honor to share this handmade collection, and an honor to be in the space held by @selbysohn at @yourmoodprojects where so many folks I admire have shared work in. The opening was so grounding, soft and explorative. I hope to recreate another iteration of it with more performances + intuitive improv this saturday, with both long time collaborators and fresh new energy. the birth death cycle commences spilling Charms! the cup overfloweth hope to see you there ❤️

Announcing our next Artist in Residence, @enheduanna_ Shirin Khalatbari is an artist, archaeologist, activist, and educator born in 1987 and raised in Tehran. They earned both their BA and MA in Near Eastern Art and Archaeology from La Sapienza University in Italy before relocating to the San Francisco Bay Area in 2016, where they completed an MFA at San Francisco State University and received the Graduate Award for Distinguished Achievement. In 2018, they were honored with the Jack K. and Gertrude Murphy Award. Khalatbari has exhibited internationally in Iran, Italy, and the United States, and is the co-founder of MUZ Collective, a Bay Area-based platform supporting emerging and underrepresented artists. Khalatbari’s work investigates the entropy of memory and history, particularly in relation to colonial legacies in West Asia. With a research-driven practice shaped by archaeology, their projects uncover the residues of historical erasure embedded in images, objects, language, and myth. Through photography, sculpture, sound, and video, Khalatbari constructs layered visual languages that question dominant narratives and resist reductive storytelling. Their work is rooted in inquiry—often beginning with a fragment or myth and expanding into installations that challenge perception and invite critical engagement. Driven by a commitment to multiplicity and poetics, Khalatbari sees memory not as static record but as a generative space for resistance and possibility.