Alright – so today we’ve got the honor of introducing you to A.S. Ashley. We think you’ll enjoy our conversation, we’ve shared it below.

A.S., thanks for taking the time to share your stories with us today We’d love to hear about a project that you’ve worked on that’s meant a lot to you.

Doing an art collaboration with a tree.

I was invited to do an installation at the Los Angeles Arboretum, a 127-acre botanical garden, where I selected a lone pink trumpet tree for the location of my work. This piece, titled YIELD, featured a full-sized YIELD sign surrounded by a dozen pink-plastic-toy chainsaws. Everything was suspended high within the tree and engineered to spin freely in the wind; clearly, the tree was doing the heavy lifting.

This project was especially meaningful because of the public engagement it facilitated. Being in a high-traffic outdoor venue allowed the work to be experienced by thousands of people over a nine-month period. I frequently observed small children pointing at the chainsaws and peppering their parents with questions. Even though information was available about the piece, I enjoyed hearing the parents’ own interpretations as they described the installation to their children and explained how it related to the urgent issue of deforestation. Witnessing these conversations and lessons about environmental stewardship was incredibly gratifying.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I am a visual artist living in the South Bay Area of Los Angeles County. My interest in art began in childhood with an obsession for copying Renaissance drawings, which led to my introduction to painting in high school. My first solo show was with Bank of America when I was sixteen, and later, I toured the U.S. with the National Watercolor Society as its youngest participant.

My current art practice includes painting (abstract and figurative), mixed media, assemblage, installation, and performance art. Beyond my personal work, I’ve been involved in several arts communities as a curator, art nonprofit board member, and gallery association president. I also co-authored two public art ordinances and served as an art correspondent for a local newspaper.

I’ve managed to maintain a crazy exhibition schedule, appearing in 30 shows over the past three years. Most recently, my assemblage, “Breakfast In Bed” (2026) was featured in the “FEED ME” fundraiser at Coastline Art Gallery in May 2026. In late 2025, I was the subject of a BOUNCE podcast “THE CHAIR INTERROGATIONS,” produced as part of an exhibit at Coastline Art Gallery titled “Take a Seat,” where I discussed my collaborative work and artistic process.

Currently, my sights are set on a new art installation for the upcoming 2026 edition of NOMAD, taking place August 7-9, in Torrance, CA. This installation is a collaboration with Natalie Rios, with whom I have worked on numerous projects, including “Color Sample(s)” (2025), “We The Disenfranchised” (2023) and “Red Lining” (2022). Our proposed piece for this year explores the ecological waste and medical redundancies of the diabetes industry, featuring hundreds of pieces of non-recyclable medical equipment and devices.

Anyone interested in getting the latest info about upcoming exhibits can send me an email: asashleyart@gmail.com (subject line: Newsletter).

What’s the most rewarding aspect of being a creative in your experience?

I am very process-oriented, so I enjoy the challenges that come with experimentation and problem-solving. Whether it’s applying unfamiliar disciplines or using untried materials, I’m constantly looking for new ways to move work around. The most rewarding moments can occur when a technical miss or a material conflict reveals something I’ve never expected or seen before.

Is there a particular goal or mission driving your creative journey?

No, not really. I find that adhering to a mission or specific goal might overlook opportunities and discourage a more organic process.

And because I have more ideas and projects than I could ever hope to realize, I prefer to spend my time in the present and remain sensitive to current circumstances. This allows me to be flexible with my work and change direction whenever necessary.

That being said, I recognize the importance of maintaining a level of productivity and having work ready for whatever calling or exhibition may arise.

But hey, as the old joke goes, I am simply working toward my lifelong ambition of making art that earns me no money but costs me a lot of time.

Contact Info:

• Website: https://asashley.com
• Instagram: https://instagram.com/a.s.ashley
• Facebook: https://facebook.com/a.s.ashley

Image Credits

Photo credit for the one of me holding an umbrella while shopping with the kids:
Shane Ellis