01 Sep Artist Interview: Alisa Ochoa
The OC Art Blog sat down (virtually) with Orange County based multidisciplinary artist Alisa Ochoa in advance of her show with painter Huang Zhen that opens at Unveil Gallery on September 7th. Ochoa’s rich work of bold colors and poetic language applied to all areas of visual expression, including sculpture, painting, and video has been recognized with residencies at Hunter College Ceramic Department, Penland School of Craft, and Kala Art Institute, and with exhibitions nationwide. Her artwork has been reviewed online and in print, including The Los Angeles Times, in which David Pagel wrote “Alisa Ochoa’s homemade book, in which design tells the story so well that words are obsolete.” She was recently appointed to the inaugural Arts Commission for the City of Costa Mesa. Let’s meet Alisa:
We are excited about your upcoming show at Unveil Gallery in Irvine. Can you tell us about the body of work you’ll be presenting and the central themes that tie this work together?
Thank you! I’m thrilled to share the gallery space with painter Huang Zhen and excited to see how our works interact. I’ll be showing my ceramic sculptures and a video from my Fruits of Labor series, which delves into themes of care, play, and life cycles.
Your art often explores themes of identity and transformation. How do these concepts manifest in your work and life?
As a first-generation artist of Thai-Mexican heritage, my cultural background subtly informs my work, even when it’s not explicitly addressed. This heritage has also sharpened my awareness of the people and things that often go unnoticed and are rendered invisible in our distraction-filled world. Identity evolves with experiences, continuously shaped and reshaped—at least, this has been true for me. Similarly, with themes of transformation, the clay itself undergoes a process much like our own life stages— of making, firing, and finishing clay are comparable to the beginning, middle, and end of our lived experiences. Yet, throughout this journey, there are always surprises, and much to learn along the way. Clay, like life, has a way of keeping me humble and grounded.
You have a unique way of blending different mediums and techniques in your work. Can you share your process for creating and how your approach has evolved over time?
Working in different mediums allows me to explore and navigate the layered intersections of the world we inhabit. However, I would say clay is my primary medium—it’s fun, and tactile, and often finds its way into my videos or installations. I keep sketchbooks because it’s important to quickly jot down ideas, so they don’t get lost. As a parent, my thoughts and things often get shuffled, and studio time is frequently fragmented. I like being able to refer back to a page, as some ideas need time to germinate. It’s more of a general guide than a blueprint. For example, the fruits, which function as both standalone sculptures and musical instruments, were originally intended for a live performance. But when COVID happened and lingered, I had to adapt. As a workaround, I incorporated them into a series of short videos, which opened up exciting opportunities to collaborate with other artists. This shift forged a new creative path, and now there’s no going back. I love collaborating with other artists—it’s a way of trusting the process and surrendering control. This approach has been crucial not only in the studio but also in navigating the grief of losing my parents, who passed away just months apart last year.
Your work is known for its rich narratives and emotional depth. What stories or messages are you hoping to convey through this exhibition?
That means a lot to me. I’m hoping more questions are asked, more music is made, and that it all conveys a sense of wonder. I notice this in Zhen’s paintings too—if you’re actively looking at his canvases, you’re gifted a surprise.
Often, emotions like anger and sorrow are pushed aside in favor of positive vibes only, but they deserve a place in our world—they must have one. The fruits of life aren’t only sweet; sometimes they are bitter.
As an artist, how do you balance your personal vision with the desire to connect with your audience? How do you hope viewers will respond to your work in this show?
Although this body of work I’m presenting at Unveil Gallery is deeply personal, it offers something the audience can connect with. By way of sensory experiences or memories—like picking out produce with a loved one at a mercado— I hope it resonates on a universal level. Those familiar with this work now see fruit in a completely new light, and I wonder if gallery visitors will have a similar response. Recently, someone asked me about Buddha’s hands, which aren’t part of the exhibition. I couldn’t answer their question, but it made me reflect on how the food diaspora mirrors our histories of migration, adaptation, and resilience. Tracing the fruit’s journey reveals how our identities and traditions are shaped by the movement of people, connecting us across time.
Beyond your own artistic practice, you’ve been active in supporting arts in the community. Can you talk about your involvement and why fostering local art scenes is important to you?
When my family moved to Orange County just before COVID to be closer to our elders, it took longer than expected to find our footing. However, I’m deeply committed to participating in and engaging with my local community—it’s just how I’m wired. While I treasure the quiet and solitude of making ceramic sculptures and ritual objects, I also find immense fulfillment in connecting with other artists and advocating for equitable access to the arts. This participation is more than just energizing; it’s sacred. Although I’ve always preferred working behind the scenes, I’m now stepping into more public-facing roles, especially as I white-knuckle my way toward becoming a “young elder.”
Looking ahead, what other projects or exhibitions are you excited about? How does this show at Unveil Gallery fit into your broader artistic journey?
I’m honored to have been awarded a residency at the Banff Centre for Arts and Creativity in Canada, which I’ll attend this October. During my time there, I will develop a new series that explores grief. This body of work will include a ceramic sound sculpture, a video, and works on paper crafted from my late parents’ documents. My inspiration comes from my experiences in bereavement groups, where I’ve felt the lack of support for marginalized and under-resourced communities, especially for those, like myself, who are often sandwich caregivers.
In a world where death and grief are pervasive yet remain taboo, I’m interested in creating space for these often-silenced, messy experiences. I recently earned a certificate in End of Life Care and am considering pursuing a death doula program to deepen my art practice. Far from being morbid, I find this work deeply life-affirming, and I’m savoring every moment.
How can people find you and see more of your work?
In-person: You can see my artwork at Unveil Gallery from September 7 thru October 26, further information at https://unveilgallery.com/
Online: You can find more of my artwork at http://alisaochoa.com/
As part of our upcoming community art day in Costa Mesa, where I serve on the Arts Commission, I’ll be helping out at ArtVenture in September. You’ll find me there at several events.
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