Polina Porras

Polina Porras Sivolobova (Treasurer) is a visual/performing artist of Mexican and Russian descent who has worked as a promoter, fundraiser and public relations official. She has a business management degree from Univ. of Texas at El Paso and received an Entrepreneurial Certification from Queens Economic Development Corporation in 2017. Polina started on staff in 2016 and joined the Board as Secretary in 2022. As a former bookkeeper and financial associate at LEIMAY, Polina understands the organization’s ethos and structure, and is able to contribute this knowledge to the growth and future of LEIMAY.

Fusako Ohta

 

Fusako Ohta (Emeritus) is philanthropist, haiku writer, tap dancer, real estate investor and former gallerist (Cast Iron Gallery/SoHo). She has been a longtime supporter of LEIMAY as Shige worked at her SoHo gallery when he first arrived from Japan. Fusako joined the Board in 2022 as the President and contributes her deep cultural alignment with the leadership and vision of the organization. She has a comprehensive awareness of the non-profit and gallery landscape, and makes social and capital contributions to the development of LEIMAY.

Exh: 2006/04-21

DISCOVER THE TIGER: 10 YEARS OF CAVE

April 21, 2006
Discover the Tiger: 10 Years of CAVE

Action Installation #3
Performance Installation by CAVEnsemble
Naoki Iwakawa – painter
Shige Moriya – videographer
Grundik Kasyansky – composer
Ximena Garnica – performer / choreographer
With guest performers Kristin Narcowich, Eva Barnett, Hiromi Iuchi

Additional Works

Studio D:
Drew Ford

Studio H:
Hiromi Iuchi

Studio N:
Naoki Iwakawa

Special Guest
DJ Takaya

Complimentary massage and acupressure therapy Plus special Tiger Beet bar

Links

 

>Exhibition Images

>Opening Event Images

>Video Documentation

About

From 1996-2006, the gallery at CAVE showed the work of over 300 artists becoming a locus for experimentation in all mediums. CAVE Gallery began as a venture of Shige Moriya and a group of artists in the mid-90’s. Fostered from an industrial rental, they transformed the 3,000 sq ft garage into a live-work space, which was considered to be one of the first recognized galleries of the neighborhood. Away from heavy commercial pressure, in an environment that supported exploration, artists were able to present ‘nakedly’ by offering completed and in-progress works and receiving feedback from peers. In addition to studio arts, openings often included music and other kinds of performances.