Pam Douglas is a Los Angeles mixed media artist who creates sculpture, painting and installations that continue her dedication to humanitarian issues. Mostly figurative, her work is an expressionistic naturalism. Her exhibits include the California African American Museum, Los Angeles County Museum of Art, Los Angeles Art Show, and USC Fisher Museum of Art.

Recent grants and awards include the Puffin Foundation, Mozaik Philanthropy, Vibrant Cities, Repaint History, The Next Big Thing, and others.

Her Sanctuary project presented more than 50 elements and incorporated sculpture, painting, and assemblage. In Part One figures of refugees walk to safety in wall-hung panels. In Part Two simulated 3-dimensional rafts escape across a gallery floor. Part Three are survivors in handmade tents.

Her “Sanctuary” installation garnered praise from art critic Genie Davis, published in Art and Cake: “This is a passion project for the artist, and it is a fierce, galvanizing, heartbreaking one … an awe-inspiring experience.”

At the close of Sanctuary, she expanded to an artbook/graphic novel, “Bearing Witness,” that tells the stories of refugee families. It is now with a literary agent.

Her paintings based on the book have been exhibited at the Ontario Museum of Art, the Human Rights Exhibition at the College of Sequoias, the Irvine Fine Arts Center, Los Angeles Art Association and elsewhere.

Next, she created life-size “Witness” sculptures. The 12 Witnesses echo 12 in a jury, 12 apostles, and the passage of time. In 2023, the Witnesses were awarded a solo installation at Tarfest, the Los Angeles annual art festival.

In 2025 she is introducing a new multimedia project: “Improper Ideology.” In collaboration with her daughter, poet/musician Raya Yarbrough, this project transforms what those in power label “improper ideology” into a defiant celebration of truth-telling through art.

“Improper Ideology” merges painting, sculpture, poetry, and music into immersive experiences that speak to displacement, memory, and the search for authentic connection in an increasingly fractured world.

Art critic Shana Nys Dambrot wrote about this work: “Born from the generative friction between poetry and visual art, this collaboration charts a shared, and indeed universal, path through grief, resistance, memory, and radical tenderness.”