Sant Khalsa: Confluence PASADENA CITY COLLEGE CENTER FOR THE ARTS PASADENA, CALIFORNIA FEBRUARY 18-APRIL 1, 2016 Confluence, by Southern California based artist, educator, and activist Sant Khalsa, was a modest and intelligently exhibition of selected works spanning from 1989 to 2015. Centered around theme of and its relationship to American West, work on view comprised a personal investigation of spiritual, economic, and environmental concerns around as they pertain to landscape that surrounds her. Khalsa has turned her camera toward changes in landscape over years, poetically and systematically documenting results of fires, floods, and drought. The sixteen black-and-white photographs from larger series Paving Paradise (1990-2012) were shot along ninety-six-mile length of Santa Ana River (a river that flows from San Bernardino mountains to Pacific Ocean). The photographs trace changes in natural landscape due to both environmental and human conditions. As indicated by title, series is critical of what Khalsa terms constructed settings within natural world. Each photograph elegantly captures environmental changes--for example, contrasting dry riverbeds to trees surrounded by flooded waters. The series also documents human presence in landscape, as evidenced by digging equipment, tire-scarred hills, and barricade tape protecting dilapidated houses. Khalsa's disquieting images track these changes over time, depicting river as, according to artist, a place of community, economic resource, recreational site, natural habitat, sanctuary, and both source of life and destruction. (1) The flow of as well as its lack, is a vital issue for desert communities in and around Southern California, and Khalsa's series of photographs Western Waters (2000-2010) calls attention to its commodification. Installed in a loose grid expanding across gallery wall, sixty black-and-white photographs document small stores where is sold in Arizona, New Mexico, Southern California, and Southern Nevada. Arranged to follow Khalsa's road trips through states, layout was clearly a reference to mapping and in direct contrast to photographs of Ed Ruscha and Bernd and Hilla Becher, to whom this work pays homage. The black-and-white photographs depict storefront businesses where is sold. Khalsa positions her camera directly in front of buildings, making straightforward images usually devoid of people, and hones in on each enterprise's name, price of its products (be they pure or ice), and whether they are available inside or outside store. Some storefronts display handwritten signs while others promote good water, land, to go, the wagon, or cactus water through more formal and bombastic typography. Khalsa is fascinated by irony of these enterprises when is available for free from tap and is thoroughly invested in why and to whom is sold in these communities. The has been filtered to taste better, and through that process (a reverse osmosis system), chlorine, fluoride, salts, and other minerals are removed, which might or might not result in health benefits for consumers. …