Known Studio
What began as a spontaneous shoot in a friend’s bathroom has grown into Known Studio—a community-first gallery where Selina Che and Katie Walsh celebrate emerging artists through connection, curation, and intention.
You two met at a house party in the summer of 2022—what do you remember about that first conversation?
[SC] I remember Katie and I were sitting on the washing machines in the kitchen eating chips.
[KW] I was on the washer, she was on the dryer.
[SC] And I recall Katie was super chill, and we had said “These chips are good”. Lol. I had these blonde streaks in my hair at the time, and Katie turned to me and asked if I modeled, to which I said “No, but someone literally asked me the same thing earlier tonight”.
[KW] We ended up planning a shoot/hangout with the friend group that all met at the party. I shot pretty much all nude photos of her in her friend's cool bathroom. From then, we just kept hanging out and going to openings and pop-ups.
“The Bay to LA pipeline is hella real—it’s sick to have a bubble of Bay Area homies in SoCal.” —Katie
You’ve both got deep California roots—Katie from the Bay, Selina from Orange County. What do you think each of those places gave you, creatively or culturally?
[KW] The Bay Area was definitely an amazing place to grow up creatively. It really is the birthplace of my photography work and is the origin of my network and community now. I can probably trace most of my current relationships back to a time, person or place in the Bay. The Bay to LA pipeline is hella real and it’s pretty sick to have a bubble of Bay Area homies in SoCal. Growing up in a really charming and diverse place, specifically SF, was inspiring. The people are amazing and talented and that fuels me to also be an inspiring representation of my home.
[SC] I think it was what the OC did not give me creatively and culturally that spurred me to seek out the pieces of culture and the people that ultimately inspired and led me to where I am today. At the time I was growing up, I would not describe my hometown as “diverse”– ethnically or culturally. It was pretty cookie cutter and very sheltered, and a lot of my peers were interested in a more traditional lifestyle than I was. Because of that, most of my teens were spent scrolling on Tumblr, watching indie films and escaping to LA whenever I could once I got my driver’s license– all of which helped expose myself to what was out there culturally and gave me something to look forward to as I grew up.
Katie, tell me about your work as a photographer—how would you describe your style, and how has it evolved over time?
[KW] My photo work really began when I received a little digital Canon point & shoot for Christmas when I was 12 - which I actually still have and carry with me! A DSLR camera came for my 14th birthday and by the time I was 18 I knew it was meant to be a big part of my life. My work has always consisted of people - originally through street photography. I don’t really shoot street so much anymore, especially since moving to LA, but I generally describe my work as documentary, maybe with more of a shift towards portraiture as of lately. I’ve been more interested in improving my technical skills, like lighting and retouching, and just trying to refine my style and my look. Because I manage a film lab too, that has really helped me understand color balance more, along with general knowledge of film, chemicals and equipment maintenance.
And Selina, you now build digital tools for brands like Nike—how does that world of design and tech connect to what you’re building here at Known?
[SC] I’d say my background in UX and digital design has given me a strong sense of how to build and maintain brand consistency—especially when it comes to establishing a presence and growing an audience. While Known Studio isn’t a brand in the traditional sense, we’ve been intentional about carving out a niche and connecting with a community that genuinely resonates with us. I think that connection has played a big role in our growth over the past two years.
On the topic of user experience, that’s helped me personally in the planning and sequencing of an exhibition. While I focus on how an experience looks and feels in a digital environment for my clients at work, it’s been fun to apply those same skills to a physical environment– thinking about what a viewer of a show experiences the second they enter the gallery.
“It was what the OC didn’t give me creatively that pushed me to find the people and culture that shaped who I am today.” —Selina
In just a year, you’ve hosted nine exhibitions and featured over 80 artists. That’s a wild pace. What’s your approach when discovering new artists?
Initially, we primarily relied on Instagram to connect with artists. We sought out artists whose work we liked and sent over a cold DM, not sure if anyone would be interested in showing with us. Nowadays, we’re connecting and discovering new artists via word of mouth through mutual friends or people who are familiar with the gallery and our past programming. It feels more organic.
Your latest show, Precious Armour, brings together Lucas Chemotti and Ben Barbetta Thompson to explore protection and preservation. What drew you to that pairing—and how did the billboard’s question (“What is precious and what needs protection?”) resonate with you personally?
[SC] We were introduced to Lucas through a friend for a potential show, and over time, that show grew into a duo show with Ben. The two have been long time collaborators and friends, and pitched the show to us late last year. It explored LA’s billboard culture and their individual experiences working in the commercial space while developing their art practices.
On that note, I think the billboard’s question brings to light what we as a society choose to protect and hold on a pedestal, and allows us to question why we place value in the things we do– much of which feels empty and frivolous when it comes to everything else going on in the world politically and socio-economically.
Your previous show, Through My Eyes, was Allan Potter’s first solo exhibition and included the release of his photo book. What made this the right moment—and the right space—for Allan’s story?
Well it was really -ism, an LA-based independent publisher run by Carlos Avalos and Brice Waller, who brought Allan Potter to our space for a collaborative show in conjunction with the release of his photo book. It was the first of ideally many similar collaborative shows with -ISM.
One thing people love about Known is that the shows don’t end at the art—they turn into real gatherings. What’s your secret to throwing such vibrant opening nights?
Honestly, the “secret” is being welcoming and authentic. We’ve all been to openings where it feels difficult to strike up a conversation with other attendees and everyone’s awkwardly glancing at each other, and the overall vibe feels quite sterile and uptight. As a result, we leave pretty soon after viewing the show. We want our openings to be a fun time for ourselves and those who stop by, with music and drinks and dancing in addition to the art. We see people connecting with each other at our openings, and we’ve received feedback that people feel welcomed in our space, which is always a great thing to hear and reminds us of what makes doing Known Studio fun.
“The secret is being welcoming and authentic. We want openings to be more than shows—we want them to be fun, connective, and unforgettable.” —Known Studio
Looking ahead, what’s the vision? Do you see Known evolving into a bigger brand, a publishing arm, more community programs—or something you haven’t even named yet?
We’re pretty open when it comes to the future of Known Studio. This year, we’ve focused on putting on more immersive and experiential exhibitions, as seen in our shows Anonima with Monica Forte and Close the Light with Kristofferson San Pablo. But we’ll see what we feel called to do in the next year and the year after that. Regardless, we want to keep providing our community a platform to show work and express themselves.
Finally: what’s keeping you inspired lately, outside of art?
[KW] Honestly, my friends inspire me the most, whether it’s creatively, professionally, or spiritually. I have so many talented friends that hype me up and remind me why I do the shit I do as a photographer and a gallery owner. As an extrovert, it’s super important for me to have quality time with people I’m close to - it keeps me hopeful and keeps me going.
[SC] I’ve been traveling quite a bit recently, and just got back from a trip to Oaxaca that was very inspiring creatively. Learning about the works and techniques of artisans in other cultures has been cool to see and a refreshing departure from what I’m exposed to in LA and the US. Other than traveling, my friends as well as seeing people out and about always inspires me, from what they’re doing, what they’re wearing, or what movies/music they’ve been into.
Oh—and who should my next conversation be with?
Hit up Carlos Avalos and Brice Waller at -ism!
Known Studio
What began as a spontaneous shoot in a friend’s bathroom has grown into Known Studio—a community-first gallery where Selina Che and Katie Walsh celebrate emerging artists through connection, curation, and intention.
You two met at a house party in the summer of 2022—what do you remember about that first conversation?
[SC] I remember Katie and I were sitting on the washing machines in the kitchen eating chips.
[KW] I was on the washer, she was on the dryer.
[SC] And I recall Katie was super chill, and we had said “These chips are good”. Lol. I had these blonde streaks in my hair at the time, and Katie turned to me and asked if I modeled, to which I said “No, but someone literally asked me the same thing earlier tonight”.
[KW] We ended up planning a shoot/hangout with the friend group that all met at the party. I shot pretty much all nude photos of her in her friend's cool bathroom. From then, we just kept hanging out and going to openings and pop-ups.
“The Bay to LA pipeline is hella real—it’s sick to have a bubble of Bay Area homies in SoCal.” —Katie
You’ve both got deep California roots—Katie from the Bay, Selina from Orange County. What do you think each of those places gave you, creatively or culturally?
[KW] The Bay Area was definitely an amazing place to grow up creatively. It really is the birthplace of my photography work and is the origin of my network and community now. I can probably trace most of my current relationships back to a time, person or place in the Bay. The Bay to LA pipeline is hella real and it’s pretty sick to have a bubble of Bay Area homies in SoCal. Growing up in a really charming and diverse place, specifically SF, was inspiring. The people are amazing and talented and that fuels me to also be an inspiring representation of my home.
[SC] I think it was what the OC did not give me creatively and culturally that spurred me to seek out the pieces of culture and the people that ultimately inspired and led me to where I am today. At the time I was growing up, I would not describe my hometown as “diverse”– ethnically or culturally. It was pretty cookie cutter and very sheltered, and a lot of my peers were interested in a more traditional lifestyle than I was. Because of that, most of my teens were spent scrolling on Tumblr, watching indie films and escaping to LA whenever I could once I got my driver’s license– all of which helped expose myself to what was out there culturally and gave me something to look forward to as I grew up.
Katie, tell me about your work as a photographer—how would you describe your style, and how has it evolved over time?
[KW] My photo work really began when I received a little digital Canon point & shoot for Christmas when I was 12 - which I actually still have and carry with me! A DSLR camera came for my 14th birthday and by the time I was 18 I knew it was meant to be a big part of my life. My work has always consisted of people - originally through street photography. I don’t really shoot street so much anymore, especially since moving to LA, but I generally describe my work as documentary, maybe with more of a shift towards portraiture as of lately. I’ve been more interested in improving my technical skills, like lighting and retouching, and just trying to refine my style and my look. Because I manage a film lab too, that has really helped me understand color balance more, along with general knowledge of film, chemicals and equipment maintenance.
And Selina, you now build digital tools for brands like Nike—how does that world of design and tech connect to what you’re building here at Known?
[SC] I’d say my background in UX and digital design has given me a strong sense of how to build and maintain brand consistency—especially when it comes to establishing a presence and growing an audience. While Known Studio isn’t a brand in the traditional sense, we’ve been intentional about carving out a niche and connecting with a community that genuinely resonates with us. I think that connection has played a big role in our growth over the past two years.
On the topic of user experience, that’s helped me personally in the planning and sequencing of an exhibition. While I focus on how an experience looks and feels in a digital environment for my clients at work, it’s been fun to apply those same skills to a physical environment– thinking about what a viewer of a show experiences the second they enter the gallery.
“It was what the OC didn’t give me creatively that pushed me to find the people and culture that shaped who I am today.” —Selina
In just a year, you’ve hosted nine exhibitions and featured over 80 artists. That’s a wild pace. What’s your approach when discovering new artists?
Initially, we primarily relied on Instagram to connect with artists. We sought out artists whose work we liked and sent over a cold DM, not sure if anyone would be interested in showing with us. Nowadays, we’re connecting and discovering new artists via word of mouth through mutual friends or people who are familiar with the gallery and our past programming. It feels more organic.
Your latest show, Precious Armour, brings together Lucas Chemotti and Ben Barbetta Thompson to explore protection and preservation. What drew you to that pairing—and how did the billboard’s question (“What is precious and what needs protection?”) resonate with you personally?
[SC] We were introduced to Lucas through a friend for a potential show, and over time, that show grew into a duo show with Ben. The two have been long time collaborators and friends, and pitched the show to us late last year. It explored LA’s billboard culture and their individual experiences working in the commercial space while developing their art practices.
On that note, I think the billboard’s question brings to light what we as a society choose to protect and hold on a pedestal, and allows us to question why we place value in the things we do– much of which feels empty and frivolous when it comes to everything else going on in the world politically and socio-economically.
Your previous show, Through My Eyes, was Allan Potter’s first solo exhibition and included the release of his photo book. What made this the right moment—and the right space—for Allan’s story?
Well it was really -ism, an LA-based independent publisher run by Carlos Avalos and Brice Waller, who brought Allan Potter to our space for a collaborative show in conjunction with the release of his photo book. It was the first of ideally many similar collaborative shows with -ISM.
One thing people love about Known is that the shows don’t end at the art—they turn into real gatherings. What’s your secret to throwing such vibrant opening nights?
Honestly, the “secret” is being welcoming and authentic. We’ve all been to openings where it feels difficult to strike up a conversation with other attendees and everyone’s awkwardly glancing at each other, and the overall vibe feels quite sterile and uptight. As a result, we leave pretty soon after viewing the show. We want our openings to be a fun time for ourselves and those who stop by, with music and drinks and dancing in addition to the art. We see people connecting with each other at our openings, and we’ve received feedback that people feel welcomed in our space, which is always a great thing to hear and reminds us of what makes doing Known Studio fun.
“The secret is being welcoming and authentic. We want openings to be more than shows—we want them to be fun, connective, and unforgettable.” —Known Studio
Looking ahead, what’s the vision? Do you see Known evolving into a bigger brand, a publishing arm, more community programs—or something you haven’t even named yet?
We’re pretty open when it comes to the future of Known Studio. This year, we’ve focused on putting on more immersive and experiential exhibitions, as seen in our shows Anonima with Monica Forte and Close the Light with Kristofferson San Pablo. But we’ll see what we feel called to do in the next year and the year after that. Regardless, we want to keep providing our community a platform to show work and express themselves.
Finally: what’s keeping you inspired lately, outside of art?
[KW] Honestly, my friends inspire me the most, whether it’s creatively, professionally, or spiritually. I have so many talented friends that hype me up and remind me why I do the shit I do as a photographer and a gallery owner. As an extrovert, it’s super important for me to have quality time with people I’m close to - it keeps me hopeful and keeps me going.
[SC] I’ve been traveling quite a bit recently, and just got back from a trip to Oaxaca that was very inspiring creatively. Learning about the works and techniques of artisans in other cultures has been cool to see and a refreshing departure from what I’m exposed to in LA and the US. Other than traveling, my friends as well as seeing people out and about always inspires me, from what they’re doing, what they’re wearing, or what movies/music they’ve been into.
Oh—and who should my next conversation be with?
Hit up Carlos Avalos and Brice Waller at -ism!
LOS ANGELES, CALIFORNIA © MR. WREN 2025
LOS ANGELES, CALIFORNIA © MR. WREN 2025