Jessica Taylor Bellamy is an artist of juxtapositions: image and text, abstraction and figuration, handmade and mass produced, reality and fantasy, sunshine and noir. A native Angeleno, born and raised in Whittier to an Ashkenazi Jewish mother and an Afro-Cuban father, Bellamy’s practice considers this particular familial history to address notions of home, homeland, and landscape. The artist’s work is rooted in her observations living at the edge of a precarious paradise of shifting ecological tensions.

Jessica Taylor Bellamy (b. 1992, Whittier, CA) received an MFA from the Roski School of Art at the University of Southern California in 2022 and a BA in Political Science from the University of Southern California in 2014. A recent solo exhibition Endnotes for Sunshine marked her debut with representing gallery Anat Ebgi. Bellamy’s work has also been featured in exhibitions with UTA Artist Space, Los Angeles, CA; GRIMM, New York, NY; Charlie James Gallery, Los Angeles, CA; Make Room LA, Los Angeles, CA; Superposition Gallery hosted at Ochi Aux, Los Angeles, CA; and Lyles and King Gallery, New York, NY. Bellamy lives and works in Los Angeles, CA.

Caleb Hahne Quintana is a documenter of light. Across portraiture, landscape, and still life paintings his work reveals that our environments can encapsulate specific states of mind through meditative, nuanced observation. His approach to these familiar subjects is tender, showing a sense of care in capturing the familiar. His process begins with drawing—a step he describes as “liberating” and will often repeat subjects across media including, colored pencil, ink, and gouache before moving to “the more arduous act of painting.” Hahne Quintana elevates the mundane to the profound, the overlooked to the monumental through his emotional responses to place and memory.

Caleb Hahne Quintana (b. 1993, Denver, CO) received a BFA in Fine Arts from Rocky Mountain College of Art and Design. He has exhibited his work widely in group and solo exhibitions at Institute of Contemporary Art, Miami, FL; Denver Art Museum, Denver, CO; Anat Ebgi, Los Angeles, CA; Lyles & King, New York, NY; albertz benda, Los Angeles, CA; Alexander Berggruen, New York, NY; 1969 Gallery, New York, NY; Carlye Packer, Palm Springs, CA; Kunstraum Potsdam, Germany; PM/AM, London, UK; and The FLAG Art Foundation, New York, NY. His residencies include 1969 Gallery Residency, The Cabin LA, ShowPen, RedLine Contemporary Art Center and Adventure Painting. His work was recently acquired by the Denver Art Museum, High Museum of Art, and the Institute of Contemporary Art Miami where his work is currently on view in their collection exhibition Fire Figure Fantasy. Hahne Quintana currently lives and works in Brooklyn, New York.

German artist Fabian Treiber is dedicated to questioning perceptions of reality through depictions of interior and exterior spaces. He approaches these compositions formally, rather than narratively and in so doing produces environments that are at once constructive and dissolving. As he describes, the works “seem not quite right, but are just right.” This conscious break posits that what is supposedly false and constructed, is in fact the essential quality of a painting. Windows and doorways provide glimpses of landscapes and morning skies, while interior staircases and halls expand his pictures, embracing a cinematic suggestion of movement, elongation, and narrative.

Fabian Treiber (b. 1986, Ludwigsburg Germany) studied Fine Art at the Stuttgart State Academy of Art and Design, Stuttgart, Germany. He was awarded the Karl Schmidt-Rottluff Scholarship for his work up to 2018 and was granted by the Kunsthalle Nürnberg with the Marianne Defet Painting Scholarship the same year. In 2021 he was a finalist for the Große-Hans-Purrmann Prize. His works have been shown in solo exhibitions at Kunsthalle Nürnberg; Kunstverein Ludwigsburg; Museum zu Allerheiligen, Schaffhausen; Ruttkowski;68 Gallery, Cologne and Paris; KANT Gallery, Copenhagen, Haverkampf Leistenschneider Gallery, Berlin and Galerie Mark Müller, Zurich. Further in group exhibitions at Kunsthalle Düsseldorf; Villa Merkel Galerien der Stadt Esslingen a.N.; Staatliche Kunsthalle Baden-Baden; Kunstverein Speyer, Arts Projects Australia, Melbourne; CFHILL Art Space, Stockholm; König Gallery, Berlin; and Kunstverein Lüneburg. His 2022 solo exhibition Sunrise Doesn’t Last All Morning at Anat Ebgi, Los Angeles, CA was the artist’s debut in the United States. A forthcoming exhibition at Public Gallery of Ostfildern will open in Stuttgart, Germany later this year. Treiber lives and works in Stuttgart, Germany.

As a colorist, O’Neil intuitively and methodically mixes and then dabs pigment-loaded brushes on raw canvas in a chorus of elaborate chromatic harmonies. Her compositions comprise wave-like color shifts of repetitive stippled brushwork, crashing, swirling and buzzing across the surface like static. The luminous canvases draw inspiration from nature and across works O’Neil captures Los Angeles twilight, contemplates spiraling geometry of shells, and interprets hypnotic formations of starlings, known as murmurations. Formally and conceptually the works hearken to California and west coast tradition of exploring light and color.

Gwen O’Neil (b. 1992, New York, NY) received her BFA from Savannah College of Art and Design, Savannah, GA. This solo exhibition follows recent presentations of O’Neil’s work by Anat Ebgi in group contexts including KIAF (Korea International Art Fair), Seoul, Korea; The Armory Show, New York NY; Felix Art Fair, Los Angeles, CA; and If you forget my name, You will go astray—at the gallery’s new Fountain Avenue location. O’Neil’s work is currently on view at the Long Beach Museum of Art in the group exhibition Color Fields. O’Neil lives and works in Los Angeles, CA.

Angela Lane paints postcard-size landscapes, aligning herself with the art historical tradition of depicting environments of celestial and mysterious phenomena. Robust pastoral beauty, bathed in soft light or cloaked in fog, is offset by dramatic eclipses, comets, or twin suns. These phenomenons suggest a range of mirages and visions open to broad interpretation, which in Lane’s words “leave the events in the paintings to be their own messengers.”

The intimate scale of Lane’s oil on wood paintings, compels viewers to draw quite near in order to see them properly—giving the sense that these visions are your very own. Despite this commitment to the diminutive, the artist achieves a magnetic sense of drama and verdant solitude. Occasionally certain phenomena are repeated either in title, or through shared compositional elements, suggesting passage of time, or varying moods and emotional states.

At times informed by recorded accounts of unexplained meteorological events from the early medieval period, the artist also channels her mystical forms through automatism. Her loose brushwork and painterly articulations register gradually. Lane’s interest in spontaneity and inspiration emerges from the desire to look at the spirit and essence of the world, rather than record its surface details.

Angela Lane (b. 1974, United Kingdom) made her American debut in 2022 with a solo exhibition Beside the Sun at Anat Ebgi, Los Angeles, CA. Her work has been included in group exhibitions since then at Nicodim Gallery, Los Angeles, CA; Meyer Riegger, Berlin, Germany; and Cob Gallery, London, UK. She will have a solo exhibition at Anat Ebgi in 2024. Lane lives and works in Waikanae, New Zealand.

Working intuitively, Soumya Netrabile channels her subconscious to mining memories of walking through nature to create her paintings. Her canvases comprise atmospheric fields of majestic color. Forests of green, amber, and peach—occasional animals or figures appear—dwarfed by swirling flame-esque brushstrokes. Netrabile dissolves real space into lyrical abstraction, uncovering poetic and spiritual connections to landscape and the world surrounding us.

Soumya Netrabile (b. 1966, Bangalore, India) received a BFA from the School of the Art Institute of Chicago and a B.S. in Electrical Engineering from Rutgers University. Recent solo exhibitions include Pt.2 Gallery, Oakland, CA; Andrew Rafacz, Chicago, IL; and The Journal, New York, NY. Netrabile has exhibited in group exhibitions at galleries including Anat Ebgi, Los Angeles, CA; Rachel Uffner, New York, NY; Trinta Gallery, Santiago de Compostela, Spain; Indigo + Madder, London, UK; and Karma, New York, NY. The artist lives and works in Chicago, IL.

Krzysztof Strzelecki works in a variety of media including ceramics and photography. Drawing from a range of influences including Christian iconography, the canon of Western art, personal experiences and gay pornography, Strzelecki creates his own world where his subjects inhabit their environments freely. His ‘Cruising Fantasies’ series of large ceramic vases in an array of shapes and vivid color, explores themes of erotic desire, the relationship between sex and nature, and fantasies of a ‘gay paradise.’

Krzysztof Strzelecki (b. 1993, Świdnica, Poland) earned his BFA in photography from the University of the Arts London (UAL), Camberwell. Recent solo exhibitions include Forbidden Fruit, Anat Ebgi, Los Angeles, CA and Summer Scenes, Taymour Grahne Projects, London, UK. He has exhibited in group exhibitions at Anat Ebgi, Los Angeles, CA; BEERS, London, UK; JPS Gallery, Tokyo, Japan; and Taymour Grahne Projects, London, UK. His sculpture Olympia (2020), was recently acquired by the Dallas Museum of Art (DMA) permanent collection from our presentation at the Dallas Art Fair 2022. Strzelecki lives and works between Poland and London, UK.

 

 

Jane Margarette is a Filipino American artist working in ceramics and installation. Her sculptures explore notions of strength, protection, sensuality, and captivity. The various animals and insects in her work, adorned with chains and lures, disguise themselves as mechanical locks that tempt viewers to touch and manipulate the ‘functional’ mechanisms.

Created by traditional slab construction, the interlocking puzzle-like objects Margarette creates also explore architectural motifs such as doors, windows, and gates. There is a surrealist quality present in her work—locks shaped like insects, doors with eyes, baskets of teeth and fruit. Playful with scale, Margarette is not trying to pass these objects off as the real thing, rather as icons glistening in fluid blue and muted pink, they yield their irresistible secrets.

Margarette enjoys the unpredictable alchemy of the glazing process, which introduces an element of surprise and imagination. Unlike painting one can’t control exactly how the final work will turn out; final forms emerge from the kiln—a metaphorical cocoon—transformed into glistening objects.

Jane Margarette (b. 1985, San Diego, CA) received her MFA in Ceramics from the University of California Los Angeles (UCLA), Los Angeles, CA in 2020 and her BFA from California State University Long Beach, Long Beach, CA in 2016. She has exhibited her work in solo exhibitions at Anat Ebgi, Los Angeles, CA and 1969 Gallery, New York, NY. She has also exhibited in group exhibitions including Ruttkowski;68, Paris, France; Sargent’s Daughters, Los Angeles, CA; Galerie Wolfsen, Aalborg, Denmark; Grounds for Sculpture, Hamilton, NJ; and Moskowitz Bayse, Los Angeles, CA. The artist has taught as a professor of Ceramics at Cal State University, Bakersfield, CA and Cal State University, Long Beach, CA. Margarette’s work is in the permanent collection of the Crocker Art Museum, Sacramento, CA. In 2023 she will have her first European solo exhibition with Ruttkowski;68 in Paris. Margarette lives and works in Los Angeles, CA.

Portraitist Alannah Farrell paints and pays tribute to their queer friends, lovers, and neighbors in atmospheric, emotional, and brooding environments. Conversations around portraiture uncover questions of identity, gaze, style, and expression. Farrell’s work touches on these, but moves confidently into personal questions about the human psyche, gender dysphoria, and selfhood. 

The works are charged with a complex tenderness, revealing an intimacy and trust between artist and sitter. Farrell presents these queer individuals through a lens of understanding and connection, a context shielded from a society eager to erase or enact violence. Informed by art historical traditions, each work is executed using a classical grisaille underpainting before the glazing layers introduce pastel haze and traveling light. 

Farrell paints thoughtfully and attentively from life. These paintings depict more than a moment, rather time itself unfurling before our eyes—shifting light, shifting weight, the emergence of the inner world. They describe the process of inviting sitters into the studio as an adrenaline rush—having to work with time as a restriction and the challenge of attempting to capture what is full of life and motion into a singular image.

Alannah Farrell (b. 1988, Kingston, NY) is a queer painter who lives and works in New York, NY. Farrell completed their BFA at The Cooper Union, New York, NY in 2011. They have exhibited their work in solo and group exhibitions at galleries including Anat Ebgi, Los Angeles, CA; Green Family Art Foundation, Dallas, TX; Harper’s, New York, NY; Richard Heller Gallery, Santa Monica, CA; The Painting Center, New York; Theirry Goldberg Gallery, New York; and UTA Artist Space, Los Angeles.

Drawing inspiration from historical works, which are intentionally kept anonymous, Joshua Petker’s paintings rely instead on their ability to evoke the familiar and uncanny, teasing and tantalizing. Rather than draw specific conclusions from these juxtapositions, his work unleashes an exhilarating proliferation of meanings and pictorial puzzles. The artist offers the history of art and visual culture reshuffled—Picabia, Bronzino, soviet era cartoons. Petker makes these his own and the outcome is a timeless dreamlike mix of perspective and emotionality.

With scenes that teeter on the brink of romance and libertinism, Petker invites us to join bands of revelry and onlookers as they promenade through expansive historical timelines. Recently his scenes of social merriment conjure clinking glasses, sweet serenades, and rowdy limericks. Petker ribs formal painting conventions and plunges viewers further into the artist’s dreamworld—a place colored by the finality of history and the haziness of memory.

Joshua Petker (b. 1979, Los Angeles, CA) completed his MFA at the California Institute of the Arts (CalArts) in 2015 and his BFA at Evergreen State College in 2002. He has exhibited his work in solo exhibitions at Anat Ebgi, Los Angeles, CA; Rachel Uffner, New York, NY; ASHES/ASHES, Los Angeles, CA; and Monte Vista Projects, Los Angeles, CA; as well as group exhibitions at Althuis Holland, Amsterdam, Netherlands; Spurs Gallery, Beijing, China; Carl Kostyál Gallery, Stockholm, Sweden; La Loma Projects, Pasadena, CA; and ACME, Los Angeles, CA. Petker lives and works in Los Angeles, CA

Robert Russell is a conceptual painter whose work returns to ideas of memory, iconography, and mortality in a personal painting language that is attentive to beauty, the history of art, and the role of photography. Best known for a nuanced photorealism,  his latest series depicts Allach porcelain figurines produced by forced labor in Nazi concentration camps and factories. Touching on something more personal, these hauntingly still and breathless figurines are marked by Russell’s distinct soft focus indicative of the tenderness and emotional depth with which he approaches these loaded objects. On the surface the beautiful imagery provides viewers with the opportunity for quiet reflection, while the reality of their origin turns thoughts to the nature of evil.

Robert Russell (b. 1971, Kansas City, MO) completed his MFA at The California Institute of the Arts (CalArts), Valencia, CA and his Bachelor of Fine Arts from the Rhode Island School of Design (RISD), Providence, RI. Russell has had solo exhibitions at galleries including Miles McEnery Gallery, New York, NY; Anat Ebgi, Los Angeles, CA;The Cabin, Los Angeles, CA; Burrard Arts Foundation, Vancouver, B.C., Canada; LA><ART, Los Angeles, CA; François Ghebaly Gallery, Los Angeles, CA; BIg Pond Artworks, Munich, Germany;and OSMOS Station, Stamford, NY. His work has been exhibited in group shows including Roberts Projects, Los Angeles, CA; Material Press MOCA LA, Los Angeles, CA; M+B Gallery, Los Angeles, CA; Honor Fraser Gallery, Los Angeles, CA; Susanne Vielmetter, Los Angeles, CA; and Gavlak Projects, Palm Beach, FL. Russell lives and works in Los Angeles, CA.

Marisa Adesman’s surreal and thought-provoking paintings often depict ordinary objects in bizarre contexts and striking states of mystical transformation. Recent works prominently feature tangled and twisted forks slithering in the garden or peering from a kitchen drawer. Her precise draftsmanship and delicate brushwork draws viewers into the fantasy and challenges our perceptions of reality.

Marisa Adesman (b. 1991, Roslyn, NY) received her MFA from the Rhode Island School of Design, Providence, RI in 2018 and her BFA from Washington University, St. Louis, MO in 2013. She has exhibited work widely including at the Contemporary Art Museum (CAM), St. Louis, MO; Black Mountain College Museum, Ashville, NC; and Mead Art Museum, Amherst College; Amherst, MA. The artist has completed a number of residences including the Vermont Studio Center, Johnson, VT; Brooklyn Art Space, NY; Wassaic Project Residency, Wassaic, NY; ChaShaMa Residency, Pine Planes, NY; Jentel Foundation Artist Residency, Banner, WY; and Tongue River Artist Residency, Dayton, WY. Her first museum solo exhibition, The Birth of Flowers, is currently on view at KMAC Contemporary Art Museum, Louisville, KY. Adesman lives and works in St. Louis, MO.

Tina Girouard (1946 – 2020) has an exhibition history that includes a 1983 mid-career retrospective mounted at the Rufino Tamayo Museum in Mexico City, and international events such as the 1980 Venice Biennale, the 1977 Paris Biennale, 1977 Documenta VI and 1972 Documenta V, Kassel. Girouard’s work has been exhibited widely at galleries and museums including: Leo Castelli Gallery, The Kitchen, Walker Art Center, New Orleans Museum of Art, Museum of Contemporary Art Chicago, Palais des Beaux-Arts Brussels, Holly Solomon Gallery, David Zwirner, the Museum of Contemporary Art Los Angeles, and the New Museum. Her work was recently on view in the exhibition With Pleasure: Pattern and Decoration in American Art 1972 – 1985 curated by Anna Katz, originating at MOCA Los Angeles, which travelled to the Hessel Museum of Art, Bard College, NY. Girouard’s work is in the permanent collections of the Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA; Ludwig Forum fur International Kunst Aachen, DE; Rufino Tamayo Museum, Mexico City, Mexico; and Stedelijk Museum Actuele Kunst, Gent, Belgium.

Sarah Ann Weber employs painting and drawing to create overgrown landscapes that are both verdant and putrefied, while confounding traditional expectations of the landscape genre. Rather than replicating the surface details of our natural surroundings, Weber’s marvelous evocations of nature concern themselves with the spiritual essence of the world, decentralizing the figure. By choreographing vegetation through her imaginative stylizations, the artist proposes that psychological and emotional worlds are as complex and as ripe for exploration as the one beyond our bodies. Weber’s all-over composition style results in works that are deliriously vibrant and feral, uncovering dualities of nature—as a source of beauty and innocence, equally entwined with aggression, and indifference.

Sarah Ann Weber (b. 1988, Chicago, IL) received her BFA from the School of the Art Institute, Chicago and her MFA from the Pennsylvania Academy of the Fine Arts. Weber has exhibited her work in solo exhibitions at venues including Anat Ebgi, Los Angeles, CA; 12.26, Dallas, TX; Club Pro, Los Angeles, CA; and The Franklin, Chicago, IL. Selected group exhibitions include Minnesota Street Project, San Francisco; MAUVE Gallery, Vienna, Austria; Greenpoint Terminal Gallery, Brooklyn; Hunter Shaw Fine Art, Los Angeles; Galerie Nord/Kunstverein Tiergarten, Berlin; Locust Projects, Miami; and Andrew Rafacz Gallery, Chicago. In 2023 Weber will be an Artist-in-Residence at Fountainhead Residency, Miami, FL and is preparing for a solo exhibition at SOCO Gallery, Charlotte, NC. She lives and works in Los Angeles.

Greg Ito embraces a graphic visual style to create cinematic paintings and installations that address themes of time, love, loss, hope, and tragedy. A gifted storyteller, the artist incorporates personal and family narratives into his dense compositions, such as his grandparents’ forced relocation to concentration camps during World War II. During their internment at the Gila River War Relocation Center in Arizona, their romance blossomed, offering light during dark days, a recurring motif.

Ito’s work imagines dream-like worlds inspired by his hometown of Los Angeles and opens portals to alternate timelines where daily life dilates into fantasy. The artist draws from an ever-expanding lexicon of symbols and imagery ranging from burning candles, keyholes, and windows, to snakes, moons, and suns. Ito uses a distinct palette of off-nature colors to depict scenes of wildfires, disaster, and destruction, that simultaneously asserts an optimistic outlook in uncertain times as he fills his work with icons of new life—growing vines, flittering butterflies, and transcendent skies.

Greg Ito (b. 1987, Los Angeles, CA) earned his BFA from San Francisco Art Institute. His work has been exhibited widely in solo and group exhibitions including at Institute of Contemporary Art, San Diego, CA; Long Beach Museum of Art, Long Beach, CA; Maki Gallery, Tokyo, Japan; Anat Ebgi, Los Angeles, CA; SPURS Gallery, Beijing, China; Lyles and King, New York, NY; Jeffrey Deitch, New York; NY and Yerba Buena Center for the Arts (YBCA), San Francisco, CA. Ito’s work is included in the permanent collections of the Institute of Contemporary Art Miami, Crocker Art Museum, Sacramento, CA; and the Los Angeles County Museum of Art (LACMA). Ito lives and works in Los Angeles, CA.

Tammi Campbell’s method for penetrating the male-dominated Modernist and Minimalist canons hinges on an enormous amount of research that allows her to technically and truthfully replicate each work. The results of which are perfect stand-ins for their respective originals. Her visible additives, whether bubble wrap, tape, or leaving some element undone, tend to generate both “a-ha” excitement and confusion. A closer look at these paintings show that the protective bubble wrap and tape are in fact an illusion—trompe l’oeil painting taken to its hyperrealistic extreme. The materials cast completely from acrylic paint medium suspend viewers in a perpetual state of anticipation and prevents us from entering a true work of art.

Tammi Campbell (b. 1974, Calgary, Alberta) received her BFA from the University of Saskatchewan, Saskatoon. Recent solo exhibitions include Exactly Wrong, MAKI Gallery, Tokyo; Boring Art, Anat Ebgi, Los Angeles, CA; and On View, Blouin Division, Montréal, QC. Campbell has also exhibited her work across Canada and the U.S. including Arsenal, New York, NY; Gavlak, Los Angeles, CA; Mendel Art Gallery, Saskatoon, SK; Justina M. Barnicke Gallery, Toronto, ON; and the Galerie de l’UQAM, Montréal, QC. She participated in the Canadian Biennale 2014 at the National Gallery of Canada, Ottawa, ON, as well as the 30th International Symposium of Contemporary Art of Baie-St-Paul. In fall of 2023, Campbell will return to Los Angeles for her second solo exhibition at Anat Ebgi. Campbell lives and works in Montréal, Quebec.

Cosmo Whyte (b. 1982, St. Andrew, Jamaica) employs drawing, sculpture, and photography to explore the intersections of race, nationalism, and displacement. His large scale drawings pose the celebratory body of Jamaican and diasporic communities in states of jubilation. His figures, adorned with gold leaf and black glitter, defy their colonial past, tearing it from their bodies through unbridled dance.

Whyte received a BFA from Bennington College, a post-baccalaureate at Maryland Institute College of Art, and a MFA from University of Michigan. In 2020 he had solo exhibitions at MOCA Georgia and ICA San Diego. Whyte has exhibited in biennial exhibitions including Prospect.5 New Orleans (2022) 13th Havana Biennial, the Jamaica Biennial (2017), and the Atlanta Biennial (2016). His work has been included in exhibitions at Museum of Contemporary Art, Chicago, IL; The High Museum of Art, Atlanta, GA; The Drawing Center, New York, NY; The Somerset House, London, UK; Museum of Latin American Art, Los Angeles, CA; Atlanta Contemporary, Atlanta, GA; Centre Georges Pompidou, Paris, France; and the National Gallery of Jamaica, Kingston, Jamaica. His work is in public museum collections including the High Museum, Atlanta; Museum of Contemporary Art, Chicago, IL; International African American Museum, Charlotte, NC; Museum of Contemporary Art Georgia; National Gallery of Jamaica; and the Pérez Art Museum Miami. In 2022 he joined the UCLA School of the Arts and Architecture as an assistant professor. Whyte lives and works in Los Angeles, CA.

 

Janet Werner (b. 1959, Winnipeg, Manitoba) lives and works in Montreal, Quebec. She received her MFA from Yale University in 1987. Solo exhibitions include Parisian Laundry (Montreal), Galerie Julia Garnatz (Cologne), Saidye Bronfman Centre for the Arts (Montreal), Whatiftheworld Gallery (Cape Town) and Plug Institute of Contemporary Art (Winnipeg). Group exhibitions include AXENEO7 (Gatineau), MASS MoCA (North Adams), Musée d’art contemporain (Montreal), Kenderdine Art Gallery (Saskatoon). A solo survey exhibition entitled, “Another Perfect Day” organized by the Kenderdine Art Gallery, University of Saskatchewan, toured to five locations in Canada from 2013-2015, including the Esker Foundation (Calgary); the McIntosh Gallery, (Ontario); Galerie de l’UQAM (Montreal); and the Doris McCarthy Gallery (Toronto). Werner’s work is in the collections of the Musée du Québec, Musée d’art contemporain (Montreal), The Art Gallery of Ontario (AGO), Toronto, Owens Art Gallery (Sackville), the Canadian Embassy in Berlin, University of Lethbridge (Alberta), Winnipeg Art Gallery, the Mendel Art Gallery and numerous private and corporate collections.

An Te Liu’s sculptures take their origins from everyday objects designed to protect and enhance and, through his interventions, are transformed into sensual biomorphic forms that are at once familiar yet uncanny. Working in bronze, ceramic, and steel sculptures his sculptures are often composed and cast from foam packing materials, sports equipment, and other collected relics from the artist’s life. Citing the history of Modernism and its hubristic desire for purity and refinement, Liu’s transgenerational signals of the body and memory mutate and devolve. His works serve as explorations of progress, improvement, and provocations of what it might mean to achieve one’s peak physical form or “optimum condition” through time. A Pulcinella of sculpture, the works proffer multitudes of identities willfully embodying a paradox.

An Te Liu (b. 1967, Tainan, Taiwan) received his Masters in Architecture from the Southern California Institute of Architecture in Los Angeles and his BA in Art History at the University of Toronto. Working predominantly within sculpture and installation, Liu’s work has been exhibited in venues including the Witte de With Center for Contemporary Art, the Louisiana Museum of Modern Art, Ursula Blickle Stiftung, the EVA Biennial of Ireland, the Venice Biennale of Architecture, and the San Francisco Museum of Modern Art.  His works are included in the permanent collections of The San Francisco Museum of Modern Art, The Louis Vuitton Foundation, The Art Institute of Chicago, The National Gallery of Canada and The Art Gallery of Ontario. Liu lives and works in Toronto, Canada.

Jordan Nassar’s hand embroidered textile pieces address an intersecting field of language, ethnicity and the embedded
notions of heritage and homeland. Treating craft within its capacity as communicative form, Nassar examines conflicting
issues of identity and cultural participation using geometric patterning adapted from Islamic symbols present in
traditional Palestinian hand embroidery. Nassar generates these symbols via computer and then meticulously hand stitches
them onto carefully mapped-out patterns. In the enmeshing and encoding of these symbols within his work, Nassar roots
his practice in a linguistic and geopolitical field of play characterized by both conflict and unspoken harmony.

Jordan Nassar (b. 1985, New York, NY) earned his BA at Middlebury College in 2007. His work has been featured in
solo and group exhibitions globally at institutions including the Whitney Museum of American Art, New York, NY; Asia
Society, New York, NY; Princeton University Art Museum, Princeton, NJ; Museum of Arts and Design, New York, NY; Katonah
Museum of Art, Katonah, NY; KMAC Museum, Louisville, KY; Center for Contemporary Art (CCA) Tel Aviv; Anat Ebgi, Los
Angeles, CA; James Cohan Gallery, New York, NY; and The Third Line, Dubai, UAE. His work has been acquired by museum
collections including the Whitney Museum of American Art, New York; The Alfond Collection of Contemporary Art, Rollins
Museum of Art, Florida; The Los Angeles County Museum of Art, California; The Museum of Contemporary Art, California;
and Rhode Island School of Design Museum, in Rhode Island, among others. Jordan Nassar is the recipient of the 2021
Unbound United States Artists Fellowship in craft. His work was recently on view at Institute of Contemporary
Art/Boston in his solo exhibition Fantasy and Truth. Nassar lives and works in New York, NY.

Alec Egan is a Los Angeles based painter. His thick impastoed figurative paintings are strikingly banal interior scenes. The interior spaces his paintings depict are premised on a fictitious memory— willfully playing on tropes of nostalgia. There are moments of clarity in the messy compositions. Particular objects begin to stick out and become repeated across his various canvases. This repetition allows the items to garner their own strength and intensity, despite their mundane status. A pair of socks or plants on a windowsill are distilled into something melancholic and profound.

Alec Egan (b. 1984, Los Angeles, CA) completed his MFA at Otis College of Art and Design in 2013, and received a BFA in creative writing and poetry from Kenyon College. Recent solo exhibitions include Miro’s Corner at MAKI Gallery in Tokyo, Japan; The Study at Charles Moffett Gallery, New York, NY; and Look Out, Anat Ebgi, Los Angeles, CA. His work has been exhibited in group and solo exhibitions at Dubuque Museum of Art, Dubuque, IA; California Heritage Museum, Santa Monica, CA; and the Torrance Art Museum, Torrance, CA. Egan’s current solo exhibition Drawing Room at Brattleboro Museum and Art Center, Brattleboro, VT is on view through October 9, 2023. Egan lives and works in Los Angeles, CA.

Jibade-Khalil Huffman is an artist and writer whose video and photo works use found, archival material and contemporary ephemera to address slippage in memory and language, particular to race and visibility. Lyrical strophes of text and densely-composed imagery produce objects of perpetual flux, indexed by accumulating layers which challenge normative symbolic and semiotic hierarchies. Through projection and repetition, Huffman’s work evokes the untranslatable, ruminating on the liminal qualities of singular experiences through narrative and graphic rhythms.

Recent solo museum exhibitions include Brief Emotion, Frac Bretagne, Rennes, FR; You Are Here, Halsey Institute of Contemporary Art Charleston, SC; and Now That I Can Dance, Tufts University Art Gallery, Tufts University, Medford, MA. Huffman’s work has also been exhibited at museums and institutions including Wexner Center for the Arts, Ballroom Marfa, The Kitchen, MoCA Tucson, Swiss Institute, New York, Portland Institute of Contemporary Art, The Jewish Museum, Institute of Contemporary Art, Philadelphia, The Studio Museum in Harlem and the Hammer Museum.

Huffman was educated at Bard College (BA), Brown University (MFA, Literary Arts), and USC (MFA, Studio Art), his awards include the Grolier Poetry Prize, the Jerome Foundation Travel Grant and fellowships from Bemis Center for Contemporary Arts, the Lighthouse Works, Lower Manhattan Cultural Council and the Millay Colony for the Arts. Huffman was a 2015-16 Artist in Residence at the Studio Museum in Harlem. His work is in the permanent collections of Dallas Museum of Art, Dallas, TX; Hammer Museum, Los Angeles, CA; Kadist, San Francisco, CA/Paris, FR; Pierce & Hill Harper Arts Foundation, Detroit, MI; Studio Museum in Harlem, Harlem, NY; and Tufts University Art Collection, Medford, MA. Huffman lives and works in Los Angeles, CA.

Samantha Thomas’ artistic practice is unique and idiosyncratic. Restraining herself to a palette of raw canvas, thread and acrylic paint, Thomas’ work explores the play between common studio materials and abstraction. Jagged extrusions, folded thresholds and frenetically woven strands of thread transform her canvases into paintings that are, at once, physical, architectural and sculptural. While each piece defies the flatness of the canvas, her work still speaks to the language and legacy of painting and drawing.

Martin Basher’s painting and sculptural work is situated in the lineage of display-based artistic practices. Working with the languages of retail and advertising, Basher explores the emotional charge of common objects and images. From his trademark paintings of gradated stripes and photo-real beaches to sculptural installations serving as displays for consumer goods, Basher activates spaces of sublimated psychological desire, at once familiar and strange for the altered retail scenarios they present. In these complex displays, Basher invokes unspoken drives, and the mundane and exclusive, the highbrow and lowbrow, and the public and private impulses that inform us as consuming individuals.

Martin Basher (b. 1979, Wellington, New Zealand) holds a BA (2003) and MFA (2008) from Columbia University in New York and a DocFA (2018) from the University of Auckland in New Zealand. Basher’s work has been shown internationally at galleries and public institutions including the University of Connecticut; Art In General; Auckland Art Gallery; and Starkwhite, Auckland; Brand New Gallery; and The Public Art Fund. Basher lives and works in New York City.

Amie Dicke’s work comprises a negotiation between everyday imagery and the validity of the whole of visual culture. Dicke prints images culled from various sources, from fashion magazines to Bauhaus catalogues, and charges them with a sense of physicality through dissolving the images from the paper. Elements are stripped back with sandpaper, caked in makeup, blotted with wine and surgically incised. Similar to her works with paper, Dicke’s “corrected artwork” series features panels coated with ink blown from ballpoint pens onto old artworks. Her abrasion and correction of established visual narrative attempts to both conceal an image while simultaneously deconstructing established visual cues, revealing alternate and new tactile experiences.

Amie Dicke’s (b. 1978, Rotterdam) work has been exhibited internationally in venues such as Schirn Kunsthalle, Frankfurt, Germany; Tate Modern and Project Space 176 in London; FLAG Art Foundation, New York; and Art Centre Silkeborg Bad in Denmark. Her work is included in several major collections including Gemeentemuseum The Hague, Collection Rob Defares, Direct Art Collection, the Zabludowicz Collection, Collection Rik Reinking, Takashi Murakami and the City Collection of Rotterdam through the Museum Boijmans van Beuningen. Recent solo exhibition history includes: EENWERK, Amsterdam, Netherlands; Granpalazzo (with Anat Ebgi), Rome, Italy; GEM Museum of Contemporary Art, The Hague, Netherlands; and Hiromi Yoshii Gallery, Toyko, Japan. Recent group exhibitions include: Anat Ebgi at Minnesota Street Project, San Francisco; Centquarte, Paris; Marres (House for Contemporary Culture), Maastricht; Castrum Peregrini, Amsterdam; Museum Kranenburgh, Bergen; Grimmuseum, Berlin; Museum of Old and New Art, Hobart Tasmania; and Murakami Takashi Kaikai Kiki Collection,Taipei. Dicke lives and works in Amsterdam.

Elias Hansen’s work involves hand-blown glass objects that convey a regularity not unlike that of a mass-produced process. Hansen’s installations, comprised of an assortment of pipettes, flasks and beakers alongside rough-cut wood, rubber tubing and light bulbs, are interrelated in arrangements that reference the fragility of both the precious and the discarded, the authentic and the reproduced. The precarious composition of his installations is both spatial and formal. Jagged wood elements intrude into the exhibition space, upon which glass objects are uneasily displayed, suggesting impending shatter. This anxiety within Hansen’s work undermines the traditional narrative of sculpture, subverting its high art status as a flux between discarded context and admired form.

 

EXHIBITIONS

Not Right Now, November 4 – December 16, 2017

I’m a long way from home and I don’t really know these roads, January 11 – February 22, 2014

We barely made it, January 21 – February 25, 2012

Next time, they’ll know it’s us, January 21 – February 26, 2011

Predicting the Present, January 14 – February 28, 2010

Jason Bailer Losh’s work embraces the distinct history of found objects as a subject and material to discuss class, labor, and craft. Composed from a supply of everyday objects sent to him by his father-in-law, Losh’s sculptures are also monuments to family lore and personal memories, which he harnesses for the purpose of exploring larger cultural questions. Through his unique sequences and arrangements, Losh’s common, commercial, and domestic objects such as chair legs, faux fruit, or decorative bowls are exposed of their sculptural, formal and physical dimensions provoking a sense of intimate familiarity. In a recent return to painting, Losh’s current works incorporate his own sculptures and materials into domestic interiors reflecting on narrative, nostalgia, and preservation of memory. By offsetting these compositions on the canvas, Losh challenges notions that idealize the past and contests popular representations of ‘the American dream.’

Jason Bailer Losh (b. 1977, Denison, Iowa) received his MFA from School of Visual Arts, New York.His work has been exhibited at such institutions as LAXART, Los Angeles; Socrates Sculpture Park, New York; FLAG Art Foundation, New York; and Fairview Museum of Art and History, Fairview, Utah. He has had solo exhibitions at Anat Ebgi, Los Angeles; ZieherSmith, New York; and Control Room, Los Angeles. He has participated in group exhibitions including ‘Rockaway!’, organized by Klaus Biesenbach at PS1/Rockaway Surf Club, New York; ‘Soft Target’, curated by Phil Chang and Matthew Porter at M+B Gallery, Los Angeles; and ‘Building Materials’, curated by Lucas Blalock at Control Room, Los Angeles. Losh lives and works in Connecticut.

Neil Raitt’s surreal landscapes test limits of reality and artificiality. His paintings depict impossible horizons and forego the idea of an original relationship to a real or even specific place. Terrains, climates, disparate geographies are all mixed together becoming a portal to an emotional or psychological space. Their impossibleness acts almost as a parody or critique of traditional sea and landscapes and argues for the possibility of fresh perspectives. Free from nostalgia and lamentation of fading natural beauty, Raitt’s landscapes have a mythological quality conveyed both through the saturated intensity of his color and the particularity of his perspective.

Neil Raitt (b. 1986) received his MA from the Royal College of Art, London in 2013. Over the past ten years he has been included in solo and group exhibitions at Anat Ebgi, Los Angeles, CA; Galerie Judin, Berlin, Germany; Nicelle Beauchene, New York, NY; The Cabin, Los Angeles, CA; Chez Valentin, Paris; Choi & Lager, Cologne; The Hole, New York, NY; and Lin & Lin Gallery, Taipei, Taiwan. His work has been exhibited at institutions including the Centre d’art contemporain La Halle des bouchers, Vienne; Villa Du Parc centre d’art contemporain, Annemasse; the DePaul University Art Museum, Chicago; and the Goss-Michael Foundation, Dallas. He was the recipient of the Northern Trust Acquisition Prize, 2016 and the Catlin Art Prize, 2014. His work is in the permanent collections of Los Angeles County Museum of Art (LACMA), Los Angeles, CA; DePaul Art Museum, Chicago; Saatchi Collection, London; and Frank-Suss Collection, London. Raitt lives and works in London.

Sigrid Sandström explores the relationship between the artist, artwork and the viewer, specifically where the focus of her work should lie. In her paintings, she explores site as concept as well as experience. Sandström’s large-scale, barren and uninhabited landscapes have gradually shifted and become more abstract over time. Failing to conform to specific categories of painting, her work continuously investigates the ontological conditions and limitations of the medium of painting. This indeterminacy forms a central role both in its investigative production and its relationship to the viewer.

Sigrid Sandström (b. 1970) is a painter and Professor of Painting at the Academy of Fine Arts / Uniarts Helsinki. She studied at Cooper Union School of Art, New York, NY (1995); earned a BFA at Academie Minerva, Groningen, The Netherlands (1997); attended Skowhegan School of Painting and Sculpture, Skowhegan, ME (2000); and received an MFA in Painting from Yale University, New Haven, CT (2001). Residencies, grants and fellowships include Brown Foundation Fellows Program at the Dora Maar House,Ménerbes, France (2018), The Royal Swedish Academy of Fine Arts residency scholarship at Grez-sur-Loing, France (2014), The 2008 Painters and Sculptors Grant from the Joan Mitchell Foundation and the John Simon Guggenheim Memorial Foundation Fellowship, New York (2008). Sandström was a recipient of a Core fellowship at the Museum of Fine Arts, Houston (2001-2003).

Sandström’s work is in the public collections of the Museum of Fine Arts Houston, Houston, TX; Moderna Museet, Stockholm, Sweden; Borås Konstmuseum, Borås, Sweden; Malmö konstmuseum, Malmö, Sweden; The Public art Agency, Sweden; Ulrich Museum of Art, Wichita, KS; Västerås konstmuseum, Västerås, Sweden, and Yale University Art Gallery, New Haven, CT. Sandström lives and works in Stockholm, Sweden.

Primarily working with painting and collage, Jay Stuckey creates compositions of familiar images using representational and abstract elements. The humor and accessibility of Stuckey’s work is counterbalanced by each piece’s hidden intricacy and purpose. Referencing his own subconscious and the confessional nature of Jungian psychoanalysis, Stuckey intends the immediacy of his work to present a line of inquiry and revelation to the viewer instead of imposing ideas. Stuckey intends his works to reveal themselves with subtlety and action, instilling the perseverance of his ongoing process.

Jay Stuckey (b. 1968, Washington, D.C.) lives and works in Los Angeles. Stuckey received his MFA from the School of the Art Institute Chicago, and BFA from Brown University. He has exhibited internationally at venues including The Cedars, Texas; Abel Raum für Neue Kunst, Berlin; Institut Franco-American, Rennes; Eric Firestone Gallery, New York; Palmetto Center for the Arts, San Antonio; Minnesota Street Project, San Francisco; Deutscher Kunstlerbund, Berlin; Blank Projects, Cape Town; Goethe Institute, Johannesburg; Green Papaya Art Projects, Manila; Pøst Gallery, LA, 16:1 Gallery, Santa Monica and Axis Gallery, Sacramento. He is included in the public collections of the Museum of Contemporary Art, Los Angeles, CA and Collection Majudia, Montreal. He has lectured at Brown University, OTIS, and the Jung Institute.