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.

Adesman (b. 1991) 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. Adesman lives and works in St. Louis, MO.

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.

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, tends 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) holds a BFA from the University of Saskatchewan, Saskatoon. Over the past ten years, Campbell has shown in solo and group exhibitions across Canada and the U.S. including at Arsenal, New York (2019); the Mendel Art Gallery, Saskatoon (2015); the Justina M. Barnicke Gallery, Toronto (2014); the Dunlop Art Gallery, Regina (2013); Mercer Union, Toronto (2013); and the Galerie de l’UQAM, Montréal (2013). She has also participated in the Canadian Biennale 2014 at the National Gallery of Canada, in Ottawa, as well as the 30th International Symposium of Contemporary Art of Baie-St-Paul. Her recent solo exhibition Exactly Wrong at MAKI Gallery, Tokyo, was her first time presenting work in Asia. Campbell lives and works in Montréal, Quebec.

Chris Coy’s work inhabits an uncanny valley of gestures created through the encoding of libidinal desire through digital interventions. Rooted in the expression of cultural and psychological repression, Coy embeds this terrain within varied multimedia installations, paintings, photographic assemblages and video works. In situating his work in the rituals of social identification, beauty, sexuality and superfluidity, Coy addresses how the visual paints a vector towards both unknowable and transcendent potentialities.

Chris Coy (b. 1980, Provo, UT) received his MFA at the Roski School of Visual Arts at USC in 2012. He has previously exhibition work at institutions including the New Museum (New York, NY); Utah Museum of Contemporary Art (Salt Lake City, UT); Torrance Art Museum (Torrance, CA); the Netherlands Media Art Institute (Amsterdam, Netherlands); and the 5th Moscow International Biennale for Young Art. He has shown work at galleries including Johan Berggren (Malmö, Sweden); Michael Thibault (Los Angeles, CA); Honor Fraser (Los Angeles, CA); Import Projects (Berlin, Germany); and COUNTY (Palm Beach, FL). He is also a former member of the internet art collective Nasty Nets. Coy lives and works between Los Angeles, CA and Las Vegas, NV.

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.

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 Pets at Charles Moffett Gallery, New York (2019); Alec Egan: The Living Room at Dubuque Museum of Art, Iowa (2019); and Viewing Room at Anat Ebgi Gallery in Los Angeles (2018). His work has also been exhibited at the California Heritage Museum (2017) and the Torrance Art Museum (2015), among others. Egan recently had his first solo exhibition in Asia—Miro’s Corner—at MAKI Gallery in Tokyo, Japan.

EXHIBITIONS

August, July 11 – September 5, 2020

Staycation, April 7 – May 30, 2020

Viewing Room, March 17 – April 28, 2018

Alannah Farrell is an artist committed to the figure and figurative tradition. Their work is a meditative, continued, coherent exploration of how the figure can be expressive. By soft, repetitive, considered brushwork, the artist portrays their inner circle of friends and creative community with a complex tenderness. At the core of their investigations are perplexing questions about psychological states, identity, and what it means to really know someone. Each sensitive portrait is a protest, an exercise in safety, community building, and nurturing intimacy against the alienation, anxieties, and violences of modern queer life.

Alannah Farrell (b. 1988, Kingston, NY) is a queer painter who lives and works in the East Village, New York, NY. They grew up in a rural hamlet in upstate NY, raised by two outside-the-system creative parents. They completed their BFA at The Cooper Union, New York, NY in 2011. They have exhibited their work at The Painting Center, New York; Theirry Goldberg Gallery, New York; and UTA Artist Space, Los Angeles.

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.

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.

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 recently at La Loma Projects, Pasadena, CA; ASHES/ASHES, New York, NY; Park Life Gallery, San Francisco, CA; Santa Monica Museum of Art, Santa Monica, CA; and ACME, Los Angeles, CA. Petker lives and works in Los Angeles.

Neil Raitt’s surreal landscapes test the limits of reality and artificiality. His paintings depict impossible places 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 an almost mythological, dream-like quality conveyed both through the saturated intensity of his color and the strangeness of the wolf silhouettes repeated through several works.

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 Nicelle Beauchene, New York, NY; The Cabin, Los Angeles, CA; Chez Valentin, Paris; Choi & Lager, Cologne; The Hole, New York, NY; Lin & Lin Gallery, Taipei, Taiwan; and Rental Gallery, East Hampton, NY. 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.

Robert Russell consistently addresses ideas of memory, iconography, and mortality in a personal language that is attentive to beauty, the history of painting, and the role of photography. Best known for his photorealism, Russell’s latest paintings are marked by a distinct soft focus indicative of the tenderness, personal affection, and emotional depth with which he approaches his subject. Set against a field of velvety black and decorated with blooming flowers, the gleaming porcelain bouquets seem to invoke the poignancy of memento mori and vanitas paintings, reminders of life’s fragility.

Robert Russell (b. 1971) completed his MFA at The California Institute of the Arts (CalArts) in 2006. Recent solo exhibitions include The Cabin, Los Angeles; Burrard Arts Foundation, Vancouver, B.C.; LA><ART, Los Angeles; François Ghebaly Gallery, Los Angeles; Big Pond Artworks, Munich; and Osmos, New York. He has been included in numerous group shows in Los Angeles including Roberts and Tilton Gallery, Material Press MOCA LA, and M+B Gallery. Russell lives and works in Los Angeles.

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.

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.

Upcoming exhibitions include the Wexner Center for the Arts and Halsey Institute of Contemporary Art. Recent exhibitions include Tufts University Galleries, 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. 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 and lives and works in North Carolina and 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 in 2008. His work has been exhibited widely in group and solo exhibitions at galleries including Maki Gallery, Tokyo, Japan; Anat Ebgi, Los Angeles, CA; Division Gallery, Montreal, QC; Arsenal Contemporary, Toronto, ON; Jeffrey Deitch New York, NY; Andrew Rafacz Gallery, Chicago, IL; Shulamit Nazarian, Los Angeles, CA; Et al, San Francisco, CA; and Yerba Buena Center for the Arts – YBCA, San Francisco, CA. A forthcoming solo exhibition at the new Institute of Contemporary Art San Diego will open in 2022. Ito 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.

An Te Liu’s sculptures are coy compositions that appear strikingly familiar yet distant. Their seemingly unplaceable quality originates from their humble origins as packaging and found objects. The forms are carvings, mutations, and amalgamations of the protective layers that surround consumer goods. Liu’s works occupy a conceptual space between definitions. Their chimeric quality allows them to be atemporal and coquettish— waltzing between opposing reads. 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 Southern California Institute of Architecture in Los Angeles and his BA in Art History 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 International 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 Art Institute of Chicago, the National Gallery of Canada and The Art Gallery of Ontario. Liu lives and works in Toronto, Canada.

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.

Krzysztof Strzelecki works in a variety of media including ceramics and photography. His practice explores themes of erotic desire, the relationship between sex and nature, and fantasies of a ‘gay paradise.’ 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.

Krzysztof Strzelecki (b. 1993, Świdnica, Poland) earned his BFA in photography from the University of the Arts London (UAL), Camberwell. Strzelecki recently exhibited his work in the group exhibition It’s Much Louder Than Before, at Anat Ebgi, Los Angeles, CA. 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.

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; BRIC, Brooklyn, NY; Museum of Arts and Design, New York, NY; Abrons Art Center, New York, NY;  Katonah Museum of Art, Katonah, NY; Anat Ebgi, Los Angeles, CA; James Cohan Gallery, New York, NY; Evelyn Yard, London, UK, Exile Gallery in Berlin, Germany, and The Third Line, Dubai, UAE. His work is included in the current group exhibition Making Knowing: Craft in Art, 1950 – 2019 at the Whitney Museum of American Art. Nassar’s work has been acquired by museum collections including the Whitney Museum of American Art, Los Angeles County Museum of Art, Museum of Contemporary Art (Los Angeles), Dallas Museum of Art, the Rhode Island School of Design Museum, and the Israel Museum, Tel Aviv. Nassar lives and works in New York, NY.

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.

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.

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; Club Pro, Los Angeles; and The Franklin, Chicago. 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. As an Artist in Residence in 2012 at the Vermont Studio Center she received an Artist Grant and was a recipient of the Ox-Bow Scholarship funded by the Joan Mitchell Foundation in 2013. She lives and works in Los Angeles.

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.

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 13th Havana Biennial, the the Jamaica Biennial (2017), and the Atlanta Biennial (2016). He has also participated in exhibitions at 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 Georgia; National Gallery of Jamaica; and the Pérez Art Museum Miami.

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