LOS ANGELES—Anat Ebgi is pleased to present the gallery’s fifth solo exhibition with New York-based Palestinian-American artist Jordan Nassar. The exhibition, entitled Describing Clouds, is on view at 6150 Wilshire Blvd from September 19 through October 31. An opening reception will be held with the artist on Saturday, September 19, 6-8 pm.

Describing Clouds brings together new multi-panel embroidered landscapes and Smalti tile mosaics that continue Nassar’s engagement with the art and craft histories of the Levant. Across the exhibition, Nassar considers how images and techniques move through time as they are repeated, translated, fragmented, and reconfigured across centuries and continents.

This exhibition presents a new series of multi-panel embroideries that expand his distinctive engagement with Palestinian tatreez, a traditional form of cross-stitch embroidery most often found on pillows, clothing, and other domestic arts. Geometric panels—diamonds, squares, pentagons, and hexagons—combine patterned fields of repeating motifs with panels depicting imagined landscapes, where hills and horizons emerge through subtle changes in color. 

Designed to be installed in multiple configurations, the works look to the convertible etched-mirror sculptures of Iranian artist Monir Shahroudy Farmanfarmaian, which brought traditional Persian craft techniques and Islamic geometric patterning into dialogue with modern Abstraction and Minimalism. Nassar similarly engages modular structures: individual stitches accumulate into complex patterned landscapes, and distinct panels into larger compositions. While each of the thousands of stitches remain fixed, the relationships among the panels can be changed into different arrangements, allowing the landscapes to be continually reconfigured.

Adaptive and evolving, his works are rooted in a linguistic and geopolitical field of play characterized by both conflict and unspoken harmony. A large mosaic tile work, titled Jabalia, draws directly from the remains of a fifth-century Byzantine Christian church and monastery at Mukheitim, an archeological site in Gaza, excavated in 1997. The full extent of the damage to the site from Israeli bombardment since 2023 remains unknown. The remarkable mosaic floors depict animals, hunting scenes, palm trees, and geometric ornament. Reworking this imagery tessera by tessera, Nassar reconstructs leaping and grazing animals around a central palm, with passages of unexpected color that interrupt and elaborate on their simplified graphic design.

Parts come together and separate, are rearranged, isolated, and recombined. This sense of constant change echoes the exhibition’s title, Describing Clouds, borrowed from a poem by Palestinian poet Mahmoud Darwish, in which clouds resist description as they continually gather, disperse, and re-form into something new. Ultimately the exhibition considers the transmission and construction of political and cultural narratives: how symbols, patterns, and materials can be modulated to preserve, study, and remake our understanding of history and heritage.

Describing Clouds forms a two-part presentation with The Third Line, on view at FRIEZE No. 9 Cork Street in London, which brings together a shared body of work across both galleries.

Jordan Nassar (b. 1985, New York, NY) earned his BA at Middlebury College. His work has been featured in solo and group exhibitions globally at institutions including the Whitney Museum of American Art, New York, NY; Museum of Contemporary Art, Los Angeles, CA; Institute of Contemporary Art/Boston; 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.

Nassar’s work has been acquired by museum collections including the Whitney Museum of American Art, New York; Dallas Art Museum, Dallas, TX; Buffalo AKG Art Museum, Buffalo, NY; Institute of Contemporary Art, Miami, FL; The Los Angeles County Museum of Art, California; The Museum of Contemporary Art, Los Angeles, CA; and Rhode Island School of Design Museum, in Rhode Island, among others. A forthcoming solo exhibition at SCAD Museum of Art, Savannah, GA will open in 2027. Nassar lives and works in New York, NY.

LOS ANGELES—Anat Ebgi is pleased to present the gallery’s second solo exhibition with Los Angeles-based artist and architect Erin Wright. The exhibition, entitled Memnosphere, is on view at 6150 Wilshire Blvd from September 19 through December 19. An opening reception will be held with the artist on Saturday, September 19, 6-8 pm.

For Memnosphere, an invented title, Wright expands her ongoing examination of domestic architecture, perception, and surface through an attempt to find the edges of a single word, ‘smell.’ Traversing the field of sensory experience, Wright draws upon three themes: mythology, memory, and research. Across a new suite of paintings, three life-scale kitchenette installations, and a loose-leaf catalogue combining her own texts with reference ephemera, Wright explores this elusive sense, which resists stable representation. 

Wright’s paintings retain the rule-bound precision that has defined her practice, rendering tile, wood grain, upholstery, plants, clothing, fruit, insects, skin, and hair, with an exacting clarity that recalls computer-generated architectural visualization and aspirationally casual product photography. Yet, these controlled environments are disrupted by sensory and associative cues: moths hover among flowering cactus; rabbits gathered beneath mid-century furniture; a magnolia cutting perfumes the room near a patterned sofa; a cotton t-shirt hangs on the back of a door.

Constructed on site, Wright’s kitchenette sculptures bridge the ideas of photorealism from her painting practice into the three-dimensional world. Though life-size and complete with upholstered banquettes that serve as gallery seating, they retain propositional qualities of an architectural spec: the cupboards do not open, nor are the sinks plumbed. They sit at the edge of reality, much as Wright’s painted imagery approaches the edge of the canvas while stopping just short of it; a fractional quarter inch border reinforces their foothold in the realm of pure representation.

Wright has also produced a loose-leaf catalogue of original writing, collected excerpts, quotations, recipes, images, and ephemera, available for visitors to peruse in each of the kitchenettes. The catalogue takes inspiration from John Cage’s 1993 Rolywholyover: A Circus exhibition catalogue for MOCA Los Angeles, part of Cage’s ever-changing ‘composition for a museum.’ Many of the short texts offer partial explanatory pathways into the stories behind specific paintings—for example, the medieval practice of wearing amuletic Jet necklaces to repel negative energy; or the mythologized pop science practice of women in Elizabethan England soaking up armpit sweat with sliced apples; or another sheet which transcribes the recipe for Southern Sweet Rice.

In perfumery, fragrances are understood to develop temporally on the skin, moving between the opening and top notes to the heart and eventually to the base. After the brighter, more volatile notes settle, the residual character of the drydown remains, mingling with the wearer’s skin revealing the fragrance’s most individual expression. Although a fragrance’s listed notes can help describe this pyramidal progression, its final effect remains particular to the wearer. Over its three-month run, the exhibition will echo this temporal unfolding, as well as the nonlinear experience of paging through Wright’s loose-leaf catalogue. Paintings will come and go and rotate throughout the duration of the show, allowing the exhibition to shift from one visit to the next, unfixed as memory.

Erin Wright (b. 1990, Memphis, TN, USA) is a painter and professor of architecture at Woodbury University. She studied fine arts at The School of the Art Institute of Chicago (BFA, 2012) and architecture at the University of California, Los Angeles (M. Arch, 2016). She is an adjunct professor of architecture at Woodbury University, Burbank, CA. Her paintings have been exhibited in numerous solo and group exhibitions at galleries including Anat Ebgi, Los Angeles, CA; MAKI Gallery, Tokyo, Japan; Sow & Tailor, Los Angeles, CA; Field Projects New York, NY; Trestle Gallery, Brooklyn, NY; Showhouse Jay, Antwerp, BE; Maple Street Construct, Omaha, NE; and Storefront for Art and Architecture, New York, NY. Her work has been featured in Artforum, New American Paintings, Architectural Digest, and The New York Times. Wright’s work is in the permanent collection of the Perez Art Museum, Miami, FL and the NexAir and Wynn Infiniti corporate collection. Wright lives and works in Los Angeles, CA.

LOS ANGELES — Anat Ebgi is pleased to present IMAGINARY WINDOWS by Brazilian artist Mucki Botkay. This is Botkay’s first solo exhibition with the gallery and debut in the United States. The exhibition is on view at 6150 Wilshire Blvd from July 11 through August 22. A reception with the artist will be held on Saturday July 11 from 4-7 pm.

Mucki Botkay translates the language of painting into meticulously embroidered fields of hand-colored glass beads. Her optically complex compositions are built on the strong and secure foundation of a self-developed color palette and subtle variations in bead size, shape, orientation and density, causing the image to oscillate between a unified whole and thousands of individual points of light.

Dense tangles of mangrove roots and introspective still lives shimmer with light and rhythm, their surfaces animated by the accumulation of individual gleaming beads. Botkay’s tapestries expand the possibilities of painting inherited from Modernism by bringing concerns with color, surface, and abstraction into dialogue with the material traditions of craft practices including tapestry, mosaic, and embroidery.

Drawing inspiration from the coastal landscapes of Rio de Janeiro and Bahia, as well as the ecosystems of Brazil’s Atlantic Forest, Botkay translates organic forms into immersive passages of color. Her imagery of gardens, forests, flowers, vines, waves, and bottles gradually dissolve into rhythmic stippled networks and particles that shift between representation and abstraction as one approaches their intricate surfaces.

Trained in decorative arts at the École Supériure des Ensembliers in Geneva in the late 1970s, Botkay arrived at her current practice through decades of experimentation in textile design, fashion, fabric printing, and embroidery. The works she produces today are developed in collaboration with a network of skilled local embroiderers, her works reflect both a deep connection to place and a sustained commitment to supporting artistic communities in Brazil.

The labor-intensive process of beaded embroidery reinforces themes embodied in the work itself. Each bead accumulates into large structures forming canopies, root systems, tree rings, each registering the passage of time. Growth, repetition, and duration are subject matter and part of the process of expanding paintings’ language of texture, movement, and materiality.

Mucki Botkay was born in 1958 in Rio de Janeiro, Brazil. She had her first solo exhibition in 2025 with Galeria Galatea in Salvador, Brazil. Anat Ebgi debuted Botkay’s work in the United States earlier this year at Frieze Los Angeles. Botkay lives and works in Rio de Janeiro.

LOS ANGELES — Anat Ebgi is pleased to announce Phase Shift, an exhibition by Angela Lane. This is Lane’s third solo exhibition with the gallery and will present new oil paintings. On view at 6150 Wilshire Blvd on Miracle Mile from June 6 through July 18, with an opening reception Saturday, June 6 from 4-6 pm.

Angela Lane interrupts her calm pastoral landscapes with depictions of extraordinary meteorological phenomena that seem at once fatal and visionary. Eclipsed suns hover above still lakes, radiating beams descend across valleys and wooded streams, and luminous halos, or mirrored moons emerge within pale skies and mist-cloaked summits. Executed in oil on birch panels, the intimate scale of these works compel viewers to draw physically near in order to fully register Lane’s delicate shifts in hue, softened reflections, and gradual painterly articulations. Despite these diminutive dimensions, the paintings evoke a striking sense of vastness and solitude, balancing grounded naturalistic environments with atmospheric sights that suspend ordinary understandings of perception and scale.

For her exhibition, Lane has chosen the title Phase Shift; a technical term in physics that refers to the measurable displacement between repeating waves, oscillations, or signals. Colloquially it can describe being ‘out of sync’ or the subtle realignment that comes from a change of perception—in other words, an awakening. The title points toward a broader interest in how reality is experienced and interpreted. The word phenomenon derives from the Greek phainómena, meaning “things that appear,” which frames reality in terms of appearance to a perceiver, rather than as an objective condition. The paintings are situated within an unstable territory between fixed observation and apparition. As open encounters, they register atmospheric fact, psychological imprint, mirage, and visionary horror and majesty.

Although Lane paints exclusively in her studio—never en plein air—these works are rooted in the isolation and expansiveness of nature. These marvelous phenomena and the landscapes where they occur are inseparable conditions rather than distinct subjects. This idea resonates with Walter De Maria’s description of The Lightning Field, where he states that “the land is not the setting for the work of art, but part of the work.” Lane’s remarkable occurrences take place in specific environments; she captures the particular convergence of seasonal, environmental, atmospheric, conditions inseparable from their geographic site. 

Void of architecture, infrastructure, or human presence, the paintings evoke an environment before or beyond civilization—reduced to earth, water, air, dust, and light. This sense of solitude and atmosphere of isolation becomes central to the experience of the work itself.  Lane’s landscapes are experienced privately and at close range; one approaches the panel alone, heightening our sensitivity to the immensity and intimacy of confronting the serene and unsettling unknown. Windows to the realms of impressions, perceptions, allusions to the psychological and physiological aspects of seeing.

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. Phosphene, her first solo exhibition in a public institution took place in 2023 at City Gallery Wellington in the capital of Aotearoa New Zealand. Her work has been included in group exhibitions since then at James Cohan, New York, NY; Nicodim Gallery, Los Angeles, CA; Meyer Riegger, Berlin, Germany; and Cob Gallery, London, UK. Concurrent to her solo show Phase Shift in Los Angeles, Lane has curated an expansive group exhibition in New York titled Illuminations. Lane lives and works in Raumati, New Zealand.

LOS ANGELES—Anat Ebgi is pleased to present Rehearsals for Living, a solo exhibition of new multi-tile ceramic tableau, paintings, and sculptural vessels by Los Angeles artist Olive Diamond. The exhibition is on view at 6150 Wilshire Blvd from April 18 through May 23, with an opening reception Saturday, April 18, 6-8 pm.

Rehearsals for Living is a poetic response to the world of childhood—to its innocence and imagination as well as the structural conditions through which knowledge and morality are first encountered. Across Diamond’s recent works, dense and dissipating scenes depict children at play alongside fragments of the industrializing world of steam engines, scaffolding, and factories. Dripping, bubbling, and pooling glazes, along with the gestural brushwork of the paintings, contribute to Diamond’s atmospheres of delight and discovery.

Through toys and play activities, children scale down and rehearse the adult world. The exhibition centers on these formative moments, where children begin to model cultural understandings of law, ritual, love, and war. Diamond treats toys as interfaces for human ambition, technological progress, belief systems, and fantasy. Objects such as teddy bears, dominos, and swing sets become exploratory structures that shape perceptions of time, causality, and morality. 

Across the exhibition, individual works articulate these ideas through distinct formal strategies. In a composition titled Play Things that recalls early industrial production, three women assemble identical teddy bears, while the space around them fractures into pure color and gesture. In a vertical ceramic tableau titled Sticks, Rocks, and Building Blocks, a young girl swings between trees as the world below—constructed from building blocks—compresses landscape and architecture into an imaginative axis of daydream suspended beneath her.

Nearby, a grid of ceramic tiles titled Chrome and Tin unfolds as a chromatic gradient anchored by a row of toy icons progressing along its base. The sequence recalls Rudolph Zallinger’s The March of Progress; in Diamond’s version, a young girl assumes the leading position. Subtle variations in glaze, produced through incremental shifts in the proportions of chrome and tin additives, generate a highly ordered abstraction. This measured progression echoes the spatial and temporal instability of Cabaletta, in which a figure in a pale green frock and children move rapidly along a bridge-like structure. Across the exhibition, development, motion, and experimentation emerge as recurring formal and conceptual concerns. This fractured sequencing of figures and space recalls Duchamp’s Nude Descending a Staircase, linking the language of movement to broader values of progress and futurist ideals.

Diamond’s experimental studio practice parallels the generative logic that fuels childhood discovery, while echoing the process of invention and industrial transformations pictured throughout the exhibition. Her glazes emerge through trial, chance, and reaction—adjusting compounds, temperatures, and firing conditions to produce surfaces that range from glassy translucence to mineral variegation. Diamond’s work registers a responsiveness to material, foregrounding contingency, variation, and the open-ended logic of play. The exhibition holds scientific and symbolic meaning in tension, balancing rigid structures with fluid surfaces, and calculated systems with a strong sense of playful and aesthetic resonance.

Olive Diamond (b. 1998, Los Angeles, CA) graduated from Rhode Island School of Design in 2021 with a BFA in Painting and Ceramics. Diamond was awarded the 2021 Florence Leif Award and the 2020 Anderson Ranch Fellowship. Her work has been exhibited at the Fall River Museum of Contemporary Art, Fall River, MA; Anat Ebgi, Los Angeles / New York; Loyal Gallery, Stockholm, Sweden; Japanese American Cultural Community Centre, Los Angeles, CA; Sow & Tailor, Los Angeles, CA; Unit London, London, United Kingdom; South Willard Gallery, Los Angeles, CA; and 1969 Gallery, New York, NY. Diamond lives and works in Los Angeles, CA.

LOS ANGELES — Anat Ebgi is pleased to announce an exhibition of new work by Simon Haas on view at 6150 Wilshire Boulevard on view from April 18 through June 6. Titled Happy Trails, the presentation foregrounds Haas’s distinct solo practice, developed alongside his work as one half of the artist duo The Haas Brothers. An opening reception will take place on Saturday, April 18, from 6 – 8pm.

Working with graphite on clayboard—a notably smooth, hard, and resistant surface—Haas renders imagery with quiet, meticulous clarity. His subjects dwell in the everyday, drawing from queer visual culture and personal experience. The drawings embrace a directness that heightens their sensitivity to touch, texture, and observation. Haas’s close attention equalizes his subjects in a diaristic mode moving fluidly between overgrown shady landscapes or waves breaking on a shoreline and a detailed examination of a muscular shoulder with exacting precision. These personal investigations are as equally rigorous, conceptual, and formal to his collaborative sculptures and furniture that draw on themes of nature, fantasy, and humor.

Describing his contribution to his collaborative work, Simon says, “I’m on the end of obsessive material research and contextualizing our ideas. I also play the role of editor. I’m a studious nerd and [my brother’s] an out-there sculptor.” Masterful at the close up, Simon’s editing eye becomes apparent through his solo painting and drawings. His imagery develops like a novel into a richly detailed world, picture by picture, shrub by shrub, wave by wave.

Simon Haas (b. 1984, Santa Monica, CA) is one half of the artist duo The Haas Brothers. Together the brothers are known for exuberant sculptural and installation works that blur the boundaries between art and design through furniture. Now based in Los Angeles, Simon and his twin grew up in Austin, TX surrounded by a family of artists and creatives; their mother was a screenwriter and opera singer, their father a painter and stonemason, their brother an actor. Following a childhood of creative collaboration, the twins found themselves on opposite coasts—Simon studied painting at the Rhode Island School of Design.

The Haas Brothers have shown their work widely in the United States and abroad. Haas Brothers: Uncanny Valley, their first major mid-career survey, debuted at the Cranbrook Art Museum, Bloomfield Hills, MI in 2025, and will travel to the Museum of Arts & Design, New York, NY, the Blanton Museum of Art, Austin, TX, and the Mint Museum, Charlotte, NC. Their work has been the subject of solo exhibitions at the Nasher Sculpture Center, Dallas, TX; the Katonah Museum of Art, Katonah, NY; the Bass Museum of Art, Miami FL; the Savannah College of Art and Design Museum of Art, Savannah, GA, and featured in group exhibitions at the San Jose Museum of Art, San Jose, CA; Anderson Ranch Arts Center, Snowmass Village, CO; the Shelburne Museum, Shelburne, VT; Sculpture Milwaukee, WI; the Boca Raton Museum of Art, FL; the KMAC Museum, Louisville, KY. In 2016, they were included in the Cooper Hewitt Design Triennial at the Cooper Hewitt, Smithsonian Design Museum, New York, NY, and in 2019, they were recipients of the YoungArts Foundation Arison Award. Works by The Haas Brothers are held in major public collections including the Cooper Hewitt, Smithsonian Design Museum, New York; the Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; and the RISD Museum, Providence, RI. Haas lives and work in Los Angeles, CA.

 

Further Reading:

Essay by Thomas Rom

LOS ANGELES — Anat Ebgi is pleased to present the debut exhibition of new work by Marc Dennis on view at 6150 Wilshire Boulevard. Dennis continues his reinterpretations of French Neoclassical, Baroque, and Dutch Golden Age painting. On view from April 18 through June 6, the exhibition is titled and organized around the central motif of Love Letter, paying homage to Johannes Vermeer’s ‘Love Letter’ paintings. An opening reception will take place on Saturday, April 18, from 6 – 8pm.

The concept for Love Letter formed last summer, after Dennis visited The Frick Collection in New York, where an unprecedented exhibition united three of Vermeer’s Love Letter paintings in a single gallery. Dennis has long drawn inspiration from the Western art historical canon, combining his appropriations with unexpected elements of humor and subversion—such as his works incorporating iridescent bubbles or cartoon animals.

Folded envelopes, opened letters, and creased notes are depicted in many paintings. Though their visual presence is subtle and their contents remain concealed, their symbolism is grand – suggestive of intimate correspondence while recalling a nearly-disappeared form of communication. Today, it is entirely possible to intimately know a lover’s texting style while being unable to recognize their handwriting. Like oil painting itself, Dennis’s letters elevate a slower and more tactile form of communication.

Dennis is known for his hyperrealistic paintings that explore what he describes as “the subversive potential of beauty and pleasure.” His floral still lifes speak to the sense of timelessness of this subject matter, while quietly reflecting on the fleeting nature of life, seduction, and declarations of love. His interpretations of the love letter similarly consider themes of longing, desire, and private thoughts. A related sense of temporal exchange is reflected in the bubbles drifting over the surfaces of the canvases, which contain literal fragments of landscape, sky, and images from Dennis’ own life. Throughout the exhibition, reflections in glass, metal, and bubbles echo the long fascination of painters with mirrors and illusion. These ethereal surfaces operate as miniature worlds, bringing past and present into the same moment of observation.

Alongside his still lifes, Dennis presents portraits that reference the compositional clarity of European salon painting and the theatricality of Baroque portraiture, including reimaginings of Caravaggio’s Bacchus, and three Ingres portraits: Baronne de Rothschild, Princesse de Broglie, and Comtesse d’Haussonville. These poised figures are surrounded by plump songbirds and lush bouquets, echoing the symbolic language encoded in Dutch still life painting. At times, his meticulously staged compositions introduce subtle disruptions with furniture, flowers, and animals, or anachronistic contemporary motifs such as food porn ice cream sundaes. Dennis’ gentle unsettling of historical illusions forms a love letter to the enduring traditions of painting, opening a dialogue between centuries of visual culture from the vantage point of contemporary life.

Marc Dennis (b. 1974, Danvers, MA) holds an MFA from the University of Texas, Austin, and a BFA from the Tyler School of Art and Architecture at Temple University, Philadelphia, PA. Recent solo exhibitions include I’m Happy You’re Here, Harper’s, New York, NY; Three Jews Walk into a Bar, A Hug From The Art World, New York, NY; Storyteller, K Contemporary, Denver, CO; and Love in the Time of Corona, Gavlak Gallery, Palm Beach, FL, among others. His work is included in museum and public collections including Norton Museum of Art, West Palm Beach, FL; North Carolina Museum of Art, Raleigh, NC, Portland Art Museum, Portland, OR; Blanton Museum of Art, University of Texas at Austin, TX; Arnot Art Museum, Elmira, NY; JPMorgan Chase Art Collection, New York, NY; and UBS Switzerland AG, Zurich, CH; and The Museum of Comparative Zoology, Harvard University, Cambridge, MA. Dennis lives and works between New York and New Jersey.

Anat Ebgi is pleased to present an exhibition of new ceramics and installation works by Mexican artist Alejandro García Contreras. The exhibition, entitled Un río abrazando una montaña, is the artist’s first solo exhibition at the gallery. On view at 6150 Wilshire Blvd, Los Angeles from February 21 April 4. An opening reception will be held on Saturday, February 21, 5-8 pm.

Alejandro García Contreras’s creative work is driven by a dialogue between material and technical processes. His experiments are filled with, and at times formed from, symbolic iconography including flaming arrows, swords, serpents, bones, and crystals. The female figures that populate many of the works read as goddesses or angels;  they embody a feminine power of dual nature—occult and divine—engulfed in flames, winged, gloriously nude.

The exhibition is organized around a central paradox: a river embracing a mountain. This image proposes that which moves surrounds that which is immobile; that which is soft encircles that which is hard; and that which flows adapts to that which remains. In García Contreras’s work, embrace and erosion are in a silent negotiation of opposing forces. The mountain imposes its presence, and the river responds with continuity.

The vertical, rising forms read as mountains—sites of law, limit, and sacred architecture where the veil between heaven and earth is thinnest. Proliferating molten glazes flow around and reshape immobile peaks, depositing minerals and nurturing mythic creatures. The artist elaborates on this mutual dependence, describing these embraces as more than gesture; “river and mountain, at times, create a landscape of life. It is an act of love, a sensual scene between that which descends and that which resurges, eternal and transcendent. Caressing one another, they meet, forming a single landscape.”

The tray forms, LAS DAMAS Y EL UNICORNIO and UN RÍO ABRAZANDO UNA MONTAÑA extend the metaphor horizontally, presenting bodies at repose within ecological and mythic landscapes, where figures, animals, and minerals coexist without dissolving into sameness. García Contreras situates eroticism relationally, as a negotiation between difference and continuity. The glass cloche sculpture, titled MAETEL, PASAJERA DE MI MEMORIA, encloses a cloaked woman with flowing blonde hair. She stands resolved yet contained, animated by these balanced forces.

García Contreras’s practice of combining elements results in suggestive forms that explore the divine, the evil, the magical, the erotic and the feminine, as well as various taboo dimensions of the viewer’s own unconscious, promoting the discovery of a new sense of divinity through contemporary idols. The mirror work, surrounded by flaming ceramic arrows, implicates the viewer directly—a solar disc intensifying the encounter, a burning effigy of the self. The gallery becomes a matrix of energy flows intensified by suspended flaming arrows directed toward the mirror and hanging from the ceiling. Installed directly on the gallery wall, a spider web made from tiny chain link is embellished with charms and gemstones. The work proposes a micro cosmos of invisible architecture and psychic equilibrium.

Through his artistic projects, García Contreras explores topics and themes inspired by contemporary popular culture, folklore, myth, occultism and religion. The artist was raised in Chiapas, Mexico, a region known for its proximity to nature and deep-rooted mystical, indigenous, and esoteric traditions. At a young age, he experimented with magic and the occult. His work explores the unconscious, projecting codes and elements that inhabit it, recalling that art once functioned as the crafting of magical objects representing life and death. The exhibition proposes a world shaped by slow, transformative embrace of difference.

Alejandro García Contreras (b. 1982, Tapachula, Chiapas, México) studied Visual Arts at the National School of Painting, Sculpture and Engraving ENPEG/La Esmeralda. In 2016, he was invited to the Casa Wabi residency program. The same year, he launched the art residency Dedazo in Carrillo Puerto, Chiapas. In the last years, he exhibited in various countries all around the world and in U.S. based galleries such as Swivel Gallery, Friedman Benda and David Castillo Gallery. In Mexico, he has presented his work in institutions such as the Museum of Modern Art, the Ex Colegio de San Ildefonso, the Ex Teresa Museum, the National Center for the Arts, the Chopo University Museum and the Museum of Contemporary Art of Monterrey, among others. He also exhibited in galleries such as Proyectos Monclova, Nasal, House of Gaga, Travesia Cuatro, Armada Galería, Guadalajara 9021 etc. In 2024 he presented his first institutional solo show in the US at Pioneer Works in Brooklyn, NY. In 2025 , he presented Le monde comme un Labyrinthe, a solo exhibition of new work conceived by the artist to show alongside Boleslaw Biegas and Gustave Moreau, presented at the Polish Institute of Paris, France. García Contreras lives and works in Guadalajara, México.

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Anat Ebgi is pleased to present new paintings and sculpture by Los Angeles artist Veronica Fernandez. The exhibition, entitled Prey, is the artist’s first solo exhibition at the gallery. On view at 6150 Wilshire Blvd, Los Angeles from February 21 April 4. An opening reception will be held on Saturday, February 21, 5-8 pm.

Veronica Fernandez’s figurative paintings invest narrative with her own life experiences. Storytelling gives way to mood, duration, and the residue of memory, resulting in vivid characters and dramatic environments that feel alive. While they have elements of autobiography, Fernandez resists overly specific Realism, opting for a dreamlike and at times fantastical backdrop. 

Children and adolescents occupy a central role in these memories. They are not idealized innocents but playful figures brimming with private sentiment. Many works show a child claiming their own space within scenes crowded by friends, siblings, neighbors, and caretakers appearing as doubled or shadow-like forms behind beds and at the edges of rooms. Pickup games, parties, and pranks introduce social and behavioral dimensions. Two works, Kids Feel Alive (Mischief Night) and Chased Through the Night (all works 2026) depict draped and looping toilet papered trees, capturing territoriality and adolescent boundary testing. 

Raised by a single father, Fernandez’s family endured periods of homelessness during her early life, moving between various temporary housing situations. These formative experiences of adversity—marked by vulnerability, adaptability, and resilience—shaped the artist’s sensitivity to environment and belonging. Her paintings frequently reflect on these early conditions, but rather than recounting events directly, she transforms lived experience into apparatus of emotion. 

Fernandez’s scenes are fluid. Shaped by subtle pressures and proximities, they move continuously between interior and exterior, from motel rooms to vacant lots. These settings are granted poetry and frankness, as she uncovers layers of humanity through depictions of daily obstacles and curiosity. Fernandez’s subject matter recalls the Ashcan School, an American artistic “movement” of the late 19th and early 20th centuries, unified by the desire to tell certain truths about modern life in urban New York City’s poorer neighborhoods. Similarly unfettered, Fernandez shines a positive light on her memories, painting towards a youthful vitality.

In one corner of the gallery, a tree-like sculpture titled Play comprises a wooden coat rack, twine-wrapped hangers, and a chunky nightstand base. Fernandez suspended brown paper bags dipped in resin from the “branches,” turning them into translucent carapaces. These humble forms—protective skins or hardened shells—also refer back to her childhood, when she would craft “dollhouses” from on-hand materials. The paper bag image is repeated in the largest painting in the exhibition, Some Things Don’t Stay For Tomorrow, as well as Stranger Asks for Toilet Paper, where a child plays on the floor with her paper neighborhood.

Tactile attention turns the space of memory into surfaces of inscription. Streaked passages in Spaghetti Car or thickly applied paint in Closer to Power create a physical density that invigorates Fernandez’s environmental psychology. Boundaries between inner life and the external world dissolve in Lost Foundation, as children jump and climb on crumbling bricks, while other figures illuminated by a lamp, huddle in the center of the compositions on a mattress and blankets. 

Furniture, stuffed animals, toys, quilts, storage bins, and televisions play a structuring role, interrupting sightlines and creating psychological distance in the compositions. Beds and couches become charged zones of rest, withdrawal, intimacy, or impasse. The specificity of her palette—formed primarily from umber, ochre, sienna, and quinacridone magenta—amplifies the richness and drama of her memories, while the deliberate speed of her paint application situates viewers in a textured and concretely constructed world. The tactile quality of her surfaces mirrors the accumulation of memory itself, where impressions build and overlap.

The exhibition title, Prey, alludes to the state of defenselessness through which children move in the world, exposed to situations, circumstances, and inherited roles that act upon them. It also invokes its homophone Pray, the personal act of communication with the divine. In Fernandez’s paintings, emotional life is shaped by the quiet systems we grow up inside, narrated by our private thoughts and supplications. To be human is to be open, impressionable, and affected: to move through our environments as they leave their marks long before we can name them. 

Veronica Fernandez (b. 1998, Norfolk, VA) completed her BFA at The School of Visual Arts in NYC. Recently she has exhibited her solo I Should Have Prayed For Other People, with Pippy Houldsworth Gallery. More recent solo and duo exhibitions include What will you give?, Night Gallery, Los Angeles, CA (2024); I’ll Never Close My Eyes Again, Galleria Poggiali, Milan (2023); When You Hold Onto My Spirit, Will You Let Your Spirit Grow?, Sow & Tailor, Los Angeles, CA (2022); and I Put My Faith In My Temple, Thierry Goldberg, New York, NY (2020). Recent group exhibitions include After Each Night We Are Emptier, Anat Ebgi, (2025); Goddesses, Jeffrey Deitch Gallery, Miami, FL (2022); Hot Concrete, curated by Melanie Ouyang Lum, K11 Musea, Hong Kong (2022); Narrative Minds, Asia Art Centre, Taipei (2022); I Do My Own Stunts, Spazio Amanita, Los Angeles, CA (2022); Visual Unpredictability, Patrick Parrish Gallery, New York, NY (2021); Buscando Recuerdos, Hashimoto Contemporary, New York, NY (2021); and De Lo Mío, Jenkins Johnson Gallery, New York, NY (2020). Fernandez lives and works in Los Angeles, CA. 

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Anat Ebgi is pleased to announce The Radiant Edge, an exhibition of new paintings by New York artist Heather Guertin. This is Guertin’s first solo exhibition with the gallery and in Los Angeles. On view at 6150 Wilshire Blvd in Los Angeles from February 21 through April 4, with an opening reception on Saturday, February 21 from 5-8pm.

Heather Guertin’s abstractions are unified by conditions of density, compression, and relational shape. Forms extend from edge to edge of her canvases, emphasizing continuity, a fullness of things spreading out like a wild garden or topographical map. Guertin’s gestures remain perpetually in the act of joining—colors, patterns, and textures—together.

Broad passages read as watery plains or fragrant hillsides, while striated marks suggest protective surfaces, layers of rind, skin, or membrane. Veils of white or pastel stippled dots, points, and circles introduce resistance within proliferating fields, slowing the eye and interrupting any reading of the work as pure expressionism. Difference and unharmonious elements fit together with precision, generating a coherent and satisfying dissonance.

Guertin’s use of color is bold, placing complimentary hues in anchoring contrasts. Black against yellow, orange with blue—this creates a push and pull across the surface. While certain colors are allowed to recede or advance, no one area of the canvas functions as background or ground; instead, her forms contour directly against one another. The paintings resist perspectival hierarchy in favor of a saturated field where each zone participates equally in the excess.

Forms bend toward fragment and irregularity. This is the result of Guertin’s pre-painting process, where she assembles compositions through collage studies, which are then translated to graphite drawings, refining line, shape, and texture. She embraces this delicate balance of juxtaposed ‘scraps’ of varied origin, assembled through visible seams into dense ornamental wholes. Individual fragments assert themselves, yet are bound into larger systems of abstract high energy passages, propelling and intensifying the composition through their union.

The heart of Guertin’s practice is perception: what we see and how it all fits together. Forms soften and harden, shed and dissolve, shaped by contact, proximity, and adjacency. Her motifs, rhythms, and colors converge as a generative force, combining into texture and pattern. The paintings in the exhibition intensify through this friction of edges, producing a visible energy as distinct parts meet and are held together without reconciliation. Ultimately what is revealed, is uncompounded pure essence, formed from the accumulation of airy passages, pugnacious and pliable colors, and ornamental vibrating chromatic relationships.

Heather Guertin (b. 1981 Worcester, Massachusetts) received her Master of Fine Arts from The School of the Art Institute of Chicago. Recent exhibitions include a two person exhibition at Kurimanzutto, Mexico City and a solo exhibition at JDJ Ice House in Garrison, NY, Two Thousand Eighteen, Brennan & Griffin, NY, Aluminum Linoleum, Proyectos Monclova, MX and The Whole, Galería Agustina Ferreyra, San Juan, Puerto Rico. Group exhibitions include Grouper, Broadway, NY, How to Call the Spirits, Chapter, NY, East Side to the West Side, Flag Art Foundation, NY, and Addicted to Highs and Lows, Bortolami, NY. She has performed in locations such as White Columns in New York and in participation with the Carnegie International in Pittsburgh, PA. In 2013, Guertin published a novella titled Model Turned Comedian with Social Malpractice and Publication Studio, which was acquired by the Museum of Contemporary Art Antwerp. In 2015 a monograph of her works was published by Hassla Books. Guertin lives and works in upstate New York.

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Anat Ebgi is pleased to announce After Each Night We Are Emptier, a group exhibition on view at 6150 Wilshire Blvd from November 15, 2025 – January 10, 2026. An opening reception will take place on Saturday, November 15 from 6-8 pm.

The exhibition brings together a diverse, multigenerational group of artists—Eve Biddle, Veronica Fernandez, Simon Haas, Hayv Kahraman, Ragen Moss, Veronika Pausova, and Mary Ann Unger, whose works depict fragmented interpretations of the body. Through sculpture, painting, drawing, and installation, the artists consider the biological and societal forces that shape inner and collective consciousness.

The exhibition traces formal and conceptual connection points between gestures and materials that register psychic and social tensions. Physicality and embodiment unfold through skins, spines, bones, and the eyes of consciousness. Downward or reflective gazes imply scenes unfolding beyond the frame—worlds away—suggesting secrecy, desire, and the limits of perception. Shifts between opacity and luminosity, heft and fragility, enact a dialogue between visible and hidden dimensions.

Beneath this corporeality runs a metaphysical current, the idea that to exist—to take form—is to enter exile, to be cast out from undifferentiated states into the fraught realm of visibility, identity, classification. In their fractures, repetitions, and reciprocities, these works gesture toward the stillness that precedes the self—a return to the primordial void of origin. The exhibition envisions embodiment as a passage between being and shadow, between connection and obliteration.

Anat Ebgi is pleased to announce I Know Her, a solo exhibition by Sarah Ann Weber on view at 6150 Wilshire Blvd from November 15, 2025 – January 10, 2026. This is Weber’s third solo exhibition with the gallery and presents new works all made during 2025. An opening reception will take place on Saturday, November 15 from 6-8 pm.

In I Know Her, Sarah Ann Weber evokes a vibrant realm of unruly flux: day and night, abundance and restraint, interior and exterior. The exhibition traces recent seismic shifts in Weber’s own life, significantly the birth of her daughter and a cross-country move back to her hometown of Chicago after a decade spent in Los Angeles. She entwines autobiography and gestural botanicals in sensory terrains, while adding to the canon of images of mother and child.

Weber began the works in southern California, drawing inspiration from the landscape’s tangle of entropy and perpetual renewal. Following her relocation, she reacquainted herself with the Midwest’s strong seasonal cycles of winter dormancy followed by spring growth, discovering new compositional rhythms of space, density, and light. Landscape functions within these works as setting and psychology. The shift from California’s perpetual fecundity to the prairie’s measured temporality and stark flatness gives rise to new spatial logic. Each painting then is a record of adaptation, indexes of weather, labor, vegetation, and time.

Figures, too, appear and dissolve within fields of abundant growths of flora, thickets of vines, blossoms, and grasses. Their spectral appearances are declarative and searching; we witness a struggle for individuation and for coherence of identity. These fleeting moments of early motherhood—holding, consoling, or running after—evoke the emotional toll of caregiving as the artist’s individuality is fractured by the constant needs and presence of the new child. This tension is mirrored in Weber’s materials; watercolor bleeds and pools in vaporous veils and colored pencil reinscribes boundaries, tethering atmosphere to form. The works pulse between containment and overgrowth, visibility and concealment. This unification of spontaneity and deliberation echoes Weber’s navigation between new motherhood and her studio practice.

Architectural forms—windows and doors—punctuate the compositions as mediating structures, as thresholds between memory and the present, wild nature and the domestic. Recalling the long history of the window in painting as a framing device for light and perspective, Weber’s frame is porous, sometimes holding the composition in place, while other times threatening to dissolve it. Her use of the motif becomes a metaphor for perception and passage; it speaks to her experience of looking and longing: gazing through glass doors and large picture windows onto dormant winter prairies upon arriving in Chicago and subsequently watching them burst alive in spring.

Extending these themes into the gallery Weber created an installation from piles of dried flowers scattered about the floor. Fragrant debris of red rose petals, creamy jasmine blooms, and yellow calendula evoke the changing seasons and echo the rhythms of domestic gestures of tending, raking, and renewal. As visitors move through the space, their footsteps may stir the lightweight material causing further scattering. These drifts of once-living flowers mirror their drawn and painted counterparts, further blurring the distinctions between image and residue.

Across I Know Her, Weber locates apertures where the maternal, environmental, and imaginative converge, accumulating dualities that form an ecology of unruliness and resilience. The exhibition’s title gestures to multiple recognitions—the child, the mother, the landscape, the artist herself—each glimpsed, inhabiting a space of flux and perpetual renewal.

Sarah Ann Weber (b. 1988, Chicago, IL) received her MFA from the Pennsylvania Academy of the Fine Arts and her BFA from the School of the Art Institute, Chicago. Weber has exhibited her work in solo exhibitions at Anat Ebgi, Los Angeles; 12.26, Dallas, TX; Club Pro, Los Angeles; The Franklin, Chicago; and a two-person exhibition with Allison Hall at SOCO Gallery, Charlotte, NC. Selected group exhibitions include Stems Gallery, Paris, France; 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. Weber’s work was recently included in a group museum exhibition, Outside: In at the Cummer Museum of Art & Gardens, Jacksonville, FL. In 2023 Weber participated in the Miami-based Fountainhead Artists-in-Residence program. Weber lives and works in Chicago, IL.

Anat Ebgi is pleased to present new paintings by Los Angeles artist Joshua Petker. The exhibition, entitled Hyacinth Canyon, is the artists’s third solo exhibition at the gallery. An opening reception will be held on Saturday, September 13, 6-8 pm.

Hyacinth Canyon names both myth and place. Taking inspiration from the Greek story of beauty, rivalry, and metamorphosis, Petker pairs it with a fanciful California canyon where time folds on itself. The convergence of history and imagination unites Petker’s practice, which treats painting as a site of overlapping realities. Across large and medium scale canvases, layered and interlocking figures share a frame, yet retain a charged, separate relationship to each other. Ghostlike impressions, statuesque nudes, and wandering outlines of beasts and smiles seem at once animated and permanently fixed, arrested by a skin of paint. Here Petker treats the present tense as composite: histories, jokes, and devotions convene as a simultaneous multi-subjective reality.

Simultaneity registers as a metaphor for our times. Courtly decorum and comic interruption share the same picture plane. Identity and archetype behave like collage, as convergent stacks of roles that never settle into singularity. Desire and discipline move as mutually dependent currents through these avatars of contemporary ascension. Whether in a grand promenade portrait or a crowded tavern of layered subjects, the painted surface operates like a proscenium, where allegory, memory, and revision overlap rather than resolve.

Petker’s chromatically intense palette is a structuring device, setting the order of attention. Ice blue, burning orange, and punctuating cadmiums direct the eye rhythmically across the canvas. Suggesting a sort of anarchic freedom, limbs and costumes splice, silhouettes echo and contradict, outlines double back, tracing a choreography of alternate poses and time scales. Varying expressions of line, color, and rendering sit together; revisions, rubbings, and drips remain legible throughout. Petker’s subjects command this bizarre, yet curiously credible and fertile world of the imagination and subconscious. 

Forming a lush, theatrical world where anachronism and allegory collide, Petker mines a visual vocabulary of 18th- and 19th-century European painting. Courtly attire, powdered wigs, pastoral landscapes, and studio tableaux, are filtered through a Petker’s psychedelic lens producing figures who are at once historical, haunted, and disassembled. Goblets, masks, laurels, tambourines, dogs, and dragons alike, circulate as props in a repertory theater. Their recurrence turns iconography into a grammar of morphability. Process and development, rehearsal and performance, period styles and studio cartoons, water nymph and flower child, share the stage to complete a vision of reality. Petker reanimates art history as a medium of fantasy, introspection, and archetype, reimagining historical motifs and genre toward an emotional truth. 

Joshua Petker (b. 1979, Los Angeles, CA) completed his MFA at the California Institute of the Arts (CalArts), Santa Clarita, CA and his BFA at Evergreen State College, Olympia, WA. 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 National Arts Club, New York, NY; albertz benda, New York, NY; Althuis Holland, Amsterdam, Netherlands; Spurs Gallery, Beijing, China; Carl Kostyál Gallery, Stockholm, Sweden; La Loma Projects, Pasadena, CA; and ACME, Los Angeles, CA. A forthcoming solo exhibition, Hyacinth Canyon, will open at Anat Ebgi, Los Angeles, CA in September 2025. His works are in the permanent collection of the K11 Art Foundation, Hong Kong, China and X Museum, Beijing, China. Petker lives and works in Los Angeles, CA.

Anat Ebgi is pleased to present new paintings by German artist Fabian Treiber. The exhibition, entitled I Take The Whole Damn Place With Me, is the artists’s second solo exhibition at the gallery. On view at 6150 Wilshire Blvd, Los Angeles from September 13 to November 1. An opening reception will be held on Saturday, September 13, 6-8 pm.

Spontaneity of gesture and response to material drive the engine of Fabian Treiber’s paintings. Swaths of thinned paint, crisp masked edges, and abrupt textural shifts signal a process attuned the examination of artifice and pictorial mechanics. Flattened perspective, compressed space, and abrupt visual breaks push up to the bounds of representation. The starting point for these paintings lies in fragments taken from the empty backgrounds of early Hollywood animations: interiors, landscapes, transitional zones originally designated as passive scenery. The resulting pictorial spaces resist fixed interpretation, hovering between found image and painterly invention. 

Memory becomes a central operative force, not as nostalgia or as recollection of what was, but as an unstable state to linger in. His paintings adhere to the logic of déjà vu: recognition without origin, the disquieting feeling of the familiar as it slips into strangeness. Treiber treats the built environment like an exquisite corpse of sorts—part home, part set, part studio—these rooms open onto diorama-like vistas; landscape slips indoors as decor. The result is a lucid, slightly uncanny vocabulary of props, portals, and stages. Windows that frame pastoral fragments, and sinks and pipes that connect literal lines bisecting the picture plane. Curtains, carpets, bits of fabric perform acts of revealing and concealing.

A recurring cast of props, plants, and personal effects unite these environments. Emblematic trees reappear at different scales; circular moons rhyme with faucet handles, basins, and glass rims; abandoned shoes mark the stage like floors. Treiber uses these motifs as pictorial devices, as anchoring points around his varied paint languages. Airbrushed haze, scumbled passages, cartoon-outline notations, and paste-ups share the same field. Treiber indulges the pleasure of atmosphere and color while skirting the seamlessness of illusion. 

Day, dusk, and night cohabitate. Rags, pipes, patched walls share the surface of pastoral longing. These modest elements do double duty: a flame is mark and illumination, a shred of cloth is decor and gesture, a thread is a line that remembers a hand. These works remind us that a view is a construction where the scenic and the architectural are painterly problems. Larger canvases expand painting into rooms that borrow from the cinematic, assemblages fold the picture plane into the scale of a keepsake.

Functioning as a discreet suite, Treiber’s new framed “painting-assemblages” compress these questions to an intimate scale, sharpening the stakes. Each small panel builds a tiny proscenium from found materials. Pleated cloth, linen valances, brass tacks, bottle caps, scraps of paper, and matchbooks are set against stained or oversprayed grounds. Curtains promise access, yet question what is revealed is often a charged field of color or a tonal xeroxed photographic ghosts, conjuring, carrying, concealing.

I Take The Whole Damn Place With Me asks how images remember, how they linger as afterimage, echo, palimpsest. Insisting on both construction and atmosphere, the exhibition hinges the romance of light and color against the gritty process of painterly assembly. Landscape is treated as portable, something open, psychologically and poetically charged. These paintings remind us that a view is never given, but built: sites where seeing becomes an act of making.

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; Galerie Mark Müller, Zurich; and Public Gallery of Ostfildern, Stuttgart. 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. Further his work has been included 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; Kunstverein Lüneburg; 69 Art Campus, Beijing; Kunstmuseum Singen; X-Museum, Beijing; and PACE Gallery, Hong Kong in 2024. Treiber lives and works in Stuttgart, Germany.

Anat Ebgi is pleased to announce Head in the Clouds, on view at 6150 Wilshire Blvd, Los Angeles from July 12 through August 16, with an opening reception on Saturday, July 12 from 5-7pm.

Considering the portrait as shadow, as avatar, as likeness, Head in the Clouds examines a range of approaches to a traditional subject matter. The artists in the exhibition unpack the construction of identity through allegory, transformation, absence, distortions, doublings, emotions and atmospheres. Drawing both from life and imagination the exhibition provokes questions about the boundaries of representation and the uncanny nature of reality.

Featuring works by:

Marisa Adesman
Hernan Bas
Jessica Taylor Bellamy
Alejandro Cardenas
Amie Dicke
Alannah Farrell
Ali Kazim
Jenny Morgan
Hannah Murray
Sarah Peters
Madeleine Pfull
Gideon Rubin
Cosmo Whyte

Anat Ebgi is pleased to announce Sayang, an exhibition by Singaporean artist Alvin Ong. This is Ong’s first solo presentation in the United States and with the gallery. On view at 6150 Wilshire Blvd in Los Angeles from May 24 through August 16. An opening reception will take place on Saturday, May 24 from 5-7pm.

Ong is known for his paintings that capture rituals of queer diasporic identity and community in surreal, bodily imagery. His scenes of intimate domestic moments and introspective private rituals, created for this exhibition were completed during the past year in between his studios in London and Singapore—imbuing the works with a dreamy and transitory sensibility. The paintings stir the kind of existentialism and wistfulness one feels looking at the world from an airplane window—flashes of memory and hopes for the future.

Mining tropes of identity and cultural memory, Ong’s allegorical spaces of belonging subvert our expectations of reality, held together by a sense of fragility. Food references and objects function as charged markers of both memory and nostalgia, associated freely alongside references to sacred imagery, art history, and ordinary lived experience. The glow of a cellphone, steamy embrace in a bathhouse, or a stack of bowls are treated with equal symbolic importance.

Ong’s figures remain evasive, often camouflaged within their surroundings through painterly layers of light and transparency. Screens and reflections obscure or reveal their subjects in equal measure. Blurring the distinction between private and public spaces, viewers are implicated as voyeurs through glimpses of Ong’s subjects; his treatment of the delineations of space—figure/ground, inside/outside, psychological/physical—leans into a territory of ambivalence, opening the paintings up to multiple readings.

The compositions are dominated by recurrent soft, bulbous forms. Solid, yet yielding, suggesting flesh, cloud, stone, vessel, halo, hands, and feet. At times they coalesce against the edges of the canvas in Baroque ecstasy, supported or bound by the edge of the picture, erupting and dissolving inward. In a suite comprising five canvases, Quintet for a new Beginning, Ong layers narrative elements with explorations of a shifting landscape. Repeated across the canvases, the motif of a hand acts as a vessel, a frame, a catalyst of change.

This fluid sensibility in form and meaning lends itself to the title of the show, Sayang, a word of Malay origin commonly used in Singlish (or colloquial Singaporean English). The word translates to “love” or “darling,” and entwines together the threads of intimacy throughout the show. However in particular contexts, Sayang can also signify “pity” or “regret,” heightening Ong’s explorations of the insecurities that arise in the search for selfhood. Sayang is a filter, a lens capable of illuminating the inherent beauty and tension between desire, distance, and belonging.

Alvin Ong (b. 1988, Singapore) received his MA in Painting from the Royal College of Art (London) and BA from the Ruskin School of Art, University of Oxford. His work has been exhibited internationally, including solo presentations with Ames Yavuz (Singapore, Sydney), Bank (Shanghai), Rodolphe Janssen (Brussels) and Various Small Fires (Seoul). His work is held in numerous public and private collections including the Victoria and Albert Museum, Peranakan Museum, ILHAM Gallery, X Museum, SunPride Foundation and UOB Art Collection. Recent press includes features in Tatler, Ocula and Juxtapoz. He lives and works between Singapore and London.

Anat Ebgi is pleased to announce Agua de vida, an exhibition by Mexican artist Ileana García Magoda. This is Magoda’s first presentation in the United States and features new paintings and works on paper. On view at 6150 Wilshire Blvd in Los Angeles from May 24 through June 28. An opening reception will take place on Saturday, May 24 from 5-7pm.

In this exhibition of new works, Magoda explores la mar (the sea) as the creative mother and primordial womb of existence. Her paintings on canvas and works on paper delve into ancient mythologies, where the ocean represents divine feminine power and the mysterious depths of consciousness. Magoda’s dynamic compositions, filled with undulating forms, mirror the perpetual motion of the sea, while red waters transform emotional turbulence by creative force. Dense and vibrant, the works in Agua de vida (Water of life) consider the ebb and flow of inner transformations, hinting at alternate pain-free realities.

In esoteric and mythological traditions, water represents human emotions. It is the elemental manifestation of the full goddess, consciousness, the absolute. Tides carry us back to these primordial origins, to eukaryotes and archaea, organelles and protists, floating forms. Magoda’s gestures bloom like divine apparitions, her imagery coalesces and dissolves in the eternal dance of creation. In this aqueous realm, memory and myth emanate as a dream, offering a glimpse into a time before time. 

As Magoda delves deeper into the metaphysical, she turns inward. Connecting her artistic practice to an embodied experience of life, she has begun experimenting with myofascial release, a hands-on massage technique that can be performed on one’s own body. Pressure is applied to various nerve points to hydrate the muscle-joint connection and consequently release pain, improve circulation and range of motion. This therapeutic practice grounds a daily awareness of her own bodily experience, which she channels into her paintings. Pain and relief appear as point and counterpoint. Through these works, the body becomes both subject and medium, an aqueous archive where sensation, memory, and creation converge.

Ileana García Magoda (b. 1985, Mexico City) studied Graphic Design at the National Autonomous University of Mexico, Mexico City. Magoda has exhibited her work internationally at galleries including Anat Ebgi, Los Angeles / New York; Bernheim Gallery, Zurich, CH; Whitewall Projects, Paris, FR; EDJI Gallery, Brussels, BE; and The Black Piglet, Mexico City, MX, among others. Magoda lives and works in Queretaro, Mexico.

Anat Ebgi is pleased to announce Scratches on the Film, on view at 6150 Wilshire Blvd, Los Angeles from April 5 through May 10. An opening reception will take place on Saturday, April 5 from 6-8 pm.

Scratches on the Film features works by seven artists: Alex Prager, Amie Dicke, Janet Werner, Mark Armijo McKnight, Stephanie Temma Hier, Suzy Lake, and Tammi Campbell. Exploring the manufacture of meaning through transformation, psychological masks, performance, and artifice, the exhibition brings into conversation artists with deep investment in superficiality. A shared attentiveness to surfaces, veneers, and the appearance of appearances, reveals ideas about abjection, repression, impulse, and potential violences. This intergenerational and international group of artists embrace seduction and narrative construction to consider a multitude of art historical issues including originality, appropriation, the muse, control, and aesthetics.

Anat Ebgi is pleased to announce Stateless Objects, an exhibition by Los Angeles artist Robert Russell. This is the artist’s fourth solo exhibition with the gallery and debuts a new body of still life oil paintings. On view at 6150 Wilshire Blvd from April 5 through May 10. An opening reception will take place on Saturday, April 5 from 6-8 pm.

For the past several years Robert Russell has painted still lifes of teacups and Allach Porcelain figurines. His latest series, named Stateless Objects depict Judaica—kiddish cups, havdalah sets, challah platters—now housed in public or private collections, where Jewish communities flourished for centuries across North Africa, the Middle East, and Central Asia.

The dispersal of Judaica often parallels the decline of Jewish communities in these regions, driven by political upheaval, antisemitism, violence, and forced migration. In countries such as Iraq and Libya, significant Jewish artifacts have been neglected or destroyed, underscoring the fragile state of this heritage. Removed from their original domestic and ritual contexts, now immortalized and remembered in Russell’s oil paintings, Stateless Objects raises questions about cultural ownership, memory, and preservation.

The exhibition engages in a form of restoration—not a reconstruction of what was lost, but an act of conceptual repatriation. In Jewish thought human hands play a role in completing the world, in making the divine manifest. Russell’s paintings participate in this sacred act of completion, transforming scattered remnants of history into a presence that can be witnessed. 

Responding to these remains, Russell has also painted porcelain vessels—teacups, pots, salt and pepper shakers—produced in Germany before the Nazi occupation, before Aryanization claimed them. These objects, once ordinary, now exist as spectral echoes of a world erased. As one approaches these canvases, the physicality of Russell’s paintings dissolves into a collection of individual marks. Isolated from background, gravity, or contextualizing narrative, the velvety voids in which they float strip everything away until all that remains is the whisper: I am here.

Together, these works explore the fragility of cultural memory and the human role in its restoration and remembrance. Just as the dispersal of Judaica reflects histories of exile and rupture, these porcelain vessels carry the weight of an erased history—objects suspended in time, painting not to restore the past, but to acknowledge it, to call it to the present. Russell’s practice is an invocation, a sanctification of what remains.

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. He 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.

Anat Ebgi presents The Wave, a benefit exhibition featuring 15 LA artists to support Alec Egan and artists affected by the wildfires which devastated Los Angeles in January. 10% of the gallery’s proceeds will be donated to the LA Arts Community Fire Relief Fund.

The Wave is on view at 6150 Wilshire Blvd from February 8 through March 22. An opening reception will take place on Saturday, February 8 from 6-8pm.

Alec Egan is one of many who lost his home and studio in the LA wildfires. He was in the final days of completing works for his solo show, 𝘛𝘩𝘦 𝘧𝘦𝘢𝘴𝘵, 𝘵𝘩𝘦 𝘴𝘦𝘢, 𝘵𝘩𝘦 𝘮𝘰𝘵𝘩𝘦𝘳, 𝘵𝘩𝘦 𝘴𝘬𝘺, 𝘵𝘩𝘦 𝘮𝘢𝘳𝘬, 𝘵𝘩𝘦 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘴, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘸𝘢𝘵𝘤𝘩𝘦𝘳, set to open at the end of January in our newly renovated and expanded headquarters at 6150 Wilshire Blvd gallery on Miracle Mile. All of the works for the exhibition were burned in the fire.

We are so grateful Alec and his family are safe and mourn with all who are now facing tragic losses and uncertainty. The Wave, is titled after one of Alec’s surviving paintings, which had miraculously been brought to the gallery early. It is a wave of support, a wave of emotion. Make waves, ride the wave, wave goodbye. As we witnessed this tremendous suffering, it has been heartening to see Los Angeles come together to grieve, opening homes, offering hope. Together we rebuild and look ahead to new days, new horizons.

Participating artists

Alec Egan
Anabel Juárez
Cosmo Whyte
Erin Wright
Jaime Muñoz
Jane Margarette
Jibade-Khalil Huffman
John Brooks
Joshua Petker
Kate Pincus-Whitney
Meeson Pae
Olive Diamond
Robert Russell
Samantha Thomas
Sarah Ann Weber

Anat Ebgi is delighted to present Temperature Check, an exhibition by Los Angeles artist Jessica Taylor Bellamy. This is Bellamy’s second solo exhibition with the gallery and debuts new paintings and sculptures. On view at 6150 Wilshire Blvd from February 8 to March 22. An opening reception will take place on Saturday, February 8 from 6-8 pm.

Jessica Taylor Bellamy’s complexly layered works for Temperature Check unify multiple visual languages and source materials. Drawing from personal photographs to newspapers, several works also incorporate intricately embedded video elements, to explore politics of climate change and disaster. Bellamy’s observations are rooted in her experiences of the sprawling urban landscape of Los Angeles—a meeting of nature and civilization at the edge of a precarious paradise, formed by fire, drought, flood, and wind.

Throughout the exhibition, Bellamy draws parallels between her own body and the anatomy of machines, particularly cars or power tools. A trio of paintings, Miss Fix It, individually subtitled (Ambition), (Courage), and (Modesty) riff on Warhol’s triple portrait of Elvis Presley. Equipped with a tool belt and drill, confidently posed—the work is a call to action; it speaks to ideas of preparedness, foundations, and having what it takes to get a job done. Repeating the cropped figure (a stand-in for the artist) across multiple works, Bellamy toys with ideas of progress and variation through changing grounds—sunset at the beach, a field of wildflowers, and a pattern of woven sheets of weather forecasts and daily headlines. In the hybrid painting-with-video titled Foliage Gas Pump, Bellamy examines interrelated structures of commerce and natural resources, an absurdist reimagining of human impact within fragile ecosystems. 

The exhibition revisits Bellamy’s interest in driving and car culture, as a symbol of Los Angeles and metaphor for the body; simultaneously she unfolds a feminine takeover of ‘the body shop’ or construction zone, softening them into fantasy. In the sculpture Mantis, a praying mantis ‘rider’ and its machine exoskeleton become one. The lifesized insecto-cyle emerges from the gallery floor and exemplifies her hybrid approach. In the adjacent gallery, two small screens embedded into passenger side mirror-sculptures cut between sequences of original video: scenes of driving westward into darkness, oil on glass animations, botox injection procedures, and the artist smearing bondo on her face like a mud-mask. These are soundtracked by an ambient roar of the ocean and the incessant purr of the artist’s cat. 

Washed and brushy, Bellamy depicts sunsets, shorelines, trees, flora, atmospheric skies and cloud formations. These are juxtaposed with boundaries and barriers that appear as soft lace curtains or harsh iron gates and chainlink fences. Carefully composed newsprint silkscreens combine crisp word and image. Attentive to language, Bellamy’s titles vary from tongue-in-cheek, Did she nail it?, to probing poetics of Pyrocumulus Daisy Portal. The exhibition title, Temperature Check, also carries a double-meaning as both a key element of weather readings, or as a figurative expression to measure the mood or opinion of a group, ultimately emphasizing the surreal reality produced through language and distribution of mass media imagery. Bellamy’s paintings thrust viewers forward, armed with hope to face uncertain times.

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. Bellamy’s work has been featured in exhibitions with Anat Ebgi, Los Angeles / New York; 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 is the recipient of artist grants from Los Angeles Lakers sponsored ‘In the Paint’ art program 2024-25 and LACE (Los Angeles Contemporary Exhibitions) Lighting Fund 2025. Bellamy lives and works in Los Angeles, CA.

Anat Ebgi presents From Sunrise to Sunset, a solo exhibition by Anabel Juárez on view at 6150 Wilshire Blvd from November 16 through January 11. This is Juárez’s first solo exhibition with the gallery and presents an installation of new ceramic sculptures. An opening reception will take place on Saturday, November 16 from 4-7 pm.

Every day on street corners across Los Angeles—from dawn to dusk—and in all weather conditions, flower vendors set up temporary, mobile shops. These vendors, many of whom are immigrants of Latinx heritage, create vibrant, ephemeral spaces that bring beauty and life to the urban landscape. Inspired by these laborers, Juárez has produced an installation that pays homage to their resilience and the labor they perform. The installation features an array of ceramic containers filled with sunflowers, dahlias, California poppies, birds of paradise, roses, and water-storing succulents—flowers that evoke the provisional fleeting nature of the flower stands these vendors assemble each day. A small white stool with a gardening glove resting on top sits near these buckets. The seat and glove, tools of respite and protection, are also stand-ins for these workers, whose absence directs attention to the ‘invisible’ physical labor force that often keeps the gardens and homes of Los Angeles pristine.

Juárez’s selection of plants and flowers reflect a combination of both native Californian species and migrant plants that arrived in the region through multiple paths. She considers their stories of origin as well as the plant’s natural characteristics to reflect on notions of migration, adaptation, and survival. For example, the bird of paradise, graceful, sharp and hardy, is able to withstand drought and wildfire smoke, perhaps ironically this non-native chimera is the official flower of Los Angeles—a symbol of both migration and resilience.

While Juárez has previously explored floral motifs in her work, often as painted imagery on freestanding forms—one such work, Girasol, is presented in this exhibition. The large totemic two-sided work is named the Spanish word for sunflower; it alludes to the sun’s singular presence in, and daily journey across, the sky. As a sunflower ‘moves’ to follow the sun, the presiding sculpture also refers to a clock or compass, markers of time, a marker of working. From Sunrise to Sunset marks her first foray into sculpting life-like representations of floral motifs. However, both the monumental ceramic sunflower sculpture, and the smaller buckets of blooms, allude to the interwoven histories of people, plants, and place, reflecting the ways in which both human and natural worlds are shaped by migration, adaptation, resilience, and survival.

Anabel Juárez is a binational artist born in Michoacán, México (1988), who lives and works in Los Angeles county. Juárez received an MFA in Art from the University of California, Los Angeles and a BFA in ceramics from California State University, Long Beach. Her work has been showcased in solo exhibitions at Carolyn Campagna Kleefeld Art Museum, California State University, Long Beach; Five Car Garage, Santa Monica, CA; and Lefebre & Fils, Paris, FR. Selected group exhibitions include Anat Ebgi, Los Angeles / New York; Guerrero Gallery, Los Angeles, CA; K11MUSEA, Hong Kong, CN; American Museum of Ceramic Art, Pomona, CA; Grounds for Sculpture, Hamilton Township, NJ; The Mistake Room, Los Angeles, CA; The Ruth Chandler Williamson Gallery, Scripps College, Claremont, CA; The Pit, Palm Springs, CA; Galeria Mascota, México City, MX; Sow & Tailor, Los Angeles, CA; and Craft Contemporary Museum, Los Angeles, CA, among others. Her work has been reviewed in publications including Artforum, Hyperallergic, and La Revue de la Céramique et Du Verre. Juárez’s work is in collections including the French National Ceramics Museum-Sèvres, as well as in several private collections.

Anat Ebgi presents Quiet Days, a solo exhibition by Korean-American artist Sarah Lee on view at 6150 Wilshire Blvd from November 16 through January 11. This is Lee’s first solo exhibition with the gallery and presents new landscape paintings. An opening reception will take place on Saturday, November 16 from 4-7 pm.

Enveloping viewers with expansive solitude, the nine haunting landscapes in Quiet Days travel through a range of seasons, climates, and topographies. Lee’s moody scenes occur on one plane, presenting a whole story in a single image and evoking a sense of total completeness. She works intuitively, building the compositions piece by piece, often painting at night, or through the night. Her paintings reflect a shared sense of human vulnerability and smallness felt looking up at a starry night sky. They are containers for the kind of inner distance found in dreams.

Absent brushstrokes, the artist’s hand is made nearly invisible through softly and slowly applied paint. She creates slick layered surfaces with unexpected elements like in Glacier, a full moon reflects its crescent counterpart in the polar waters below contributing to an uncanny consciousness. Regardless of geography, each painting begins the same—two colors, a top and a bottom; they meet to form a horizon. An elemental eeriness emerges between earth and sky. In End of the Cliff, comets shoot across the heavens over a still glass sea below. In others this tension is expressed with a windy ground and a muffled airless sky above. Chartreuse, goldenrod, earthy greens, and icy blues, Lee’s palette is also built around the use of turquoise, a color that is defined by its in-betweenness, not completely blue or green, it occurs in many forms in nature as water, plant, stone, and sky. 

The exhibition is titled after a poem by Hang Kang that Lee translated called “Quiet Days” about a moment when the poet was feeling unwell, and noticing a small, shiny, white rock in her path she said, “how lucky you are, to have no life.” The poem speaks about existing peacefully, unbound by life’s complexity; it suggests nature’s indifference to our pains and anxieties. Like the seas, snowdrifts, moon, and clouds in Lee’s paintings, the rock exists and it exists beautifully. 

Sarah Lee (b. 1988, Seoul, South Korea) received a BFA from the School of the Art Institute of Chicago in 2011 and an MFA from the same institution in 2017. Additionally, Lee studied painting at Seoul National University in 2014. Recent solo exhibitions include Two Skies, Albertz Benda, New York, NY; Tracing the Night, PMAM, London, UK; and Complete Observer, Bill Brady Gallery, Los Angeles, CA. Her work has been exhibited internationally at galleries including the Pond Society, Shanghai, CN; Anat Ebgi, Los Angeles / New York; Berry Campbell, New York, NY; Stems Gallery, Paris, FR; Gana Art, Los Angeles, CA; Long Story Short, Paris, FR; Giovanni’s Room, Los Angeles, CA; 1969 Gallery, New York, NY; Carl Kostyal, Milan, IT; Galerie Hussenot, Paris, FR; Artnutri Gallery, Taichung City, Taiwan; The Mission Project, Chicago, IL; and ATM Gallery, New York, NY; among others. Lee lives and works in New York, NY.

Anat Ebgi is pleased to present Jibade-Khalil Huffman Control on view at 6150 Wilshire Blvd from September 28 through November 16. This is Huffman’s third solo exhibition with the gallery and first solo presentation in Los Angeles in nearly five years. Control presents new film installations, inkjet collages, and for the first time screen printed works. 

Control continues Huffman’s long fascination with ‘the double,’ with doppelgängers, changing identities and “the second act of American lives.” This paraphrasing of F. Scott Fitzgerald, comes from the writer’s notes on his unfinished novel The Last Tycoon and refers to the idea of a reset or fresh start and the limitations of second chances. In this exhibition Huffman explores reinvention and ideas about what a change could possibly mean in the face of trauma via the construct of his video installation.

Considering the total installation and conventions of the viewing experience for video, You Are Here (2024, 55 minutes) and Subject (2022, 6 minutes) are projected continuously alongside Driver 4 (2024, continuous) an ever changing loop of multiple screens juxtaposed with different durations. Facing the central projection Huffman has arranged a discrete installation of car seats and monitors. The installation plays on the form of the arcade racing game. Asynchronous, the total-video installation in this gallery employs chance, where different combinations and image collisions may happen. Running counterpoint to the films in the darkened gallery, Monodrama (2024, 18 minutes) utilizes found material, collaged into a rage filled stream of consciousness. A third film installation, Tondo (2024, continuous), utilizes inkjet on Duratrans with a rear projected looping video. 

Alongside his video works, the exhibition features new inkjet, fabric and screen print works (the first time the artist has worked with this material). Among these a suite of ten collages utilize a Harlem Globetrotter’s coloring book to explore various divisions through their encounter with residents of an Appalachian town. As ever, the inter-related framed images articulate something distinct that the moving images cannot. Similarly the application of wall vinyl functions to echo sentiments in the text but also graphically disrupt the installation of collages. Though elaborative, Huffman’s static works are never illustrative or literal in their relationship to his videos. Drawing from a non-exhaustive list of source material—from maps and diagrams, to classic television stills and advertisements, Huffman’s attention to poetic language and semiotics addresses how meaning is shaped and ever-changing. 

The exhibition title references both the 2017 album “CTRL” by SZA, as well as the video game “Control,” (which also figures into Huffman’s ongoing research of, and works addressing, the participatory within the video installation space), in terms of their emotionality and confrontation with trauma, but also speaking to the introvert’s desire for control in the social space—and the artist’s own quests to control rage in the face of senseless death, threatening attempts at religious control, and the cadence of chaos pulsing through the world.

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 Los Angeles County Museum of Art, The High Line, 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 is an Assistant Professor at University of California, Irvine, where he teaches video and collage. He lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce Meeson Pae: Permeate on view at 6150 Wilshire Blvd from September 21 through November 2. This is Pae’s first solo exhibition with the gallery and presents biomorphic paintings, sculptures, and multimedia installations. An opening reception will take place on Saturday, September 21 from 6-8pm.

Anat Ebgi is part of PST ART as a Gallery Program Participant. Returning in September 2024 with its latest edition, PST ART: Art & Science Collide, this landmark regional event explores the intersections of art and science, both past and present. PST ART is presented by Getty. For more information about PST ART: Art & Science Collide, please visit pst.art

Evoking the body and its ongoing relationship to technology, Korean American artist Meeson Pae’s work explores the sensual architecture of organic and mechanical forms. With the assistance of 3D sculpting software, Pae renders her muscular mechanisms and fluid flesh virtually. This process allows her to exploit a limitless potential of scale, gravity, perspective, and to boundlessly ‘undo’ or ‘redo’ her subject matter until she has arrived at a moment of climactic transformation.

This work explores the interplay between machine and body, complicating distinctions through the translation of these digital processes into physical objects. Across media, whether oil painting or sculptures fabricated through industrial processes, such as 3D printing and laser-cut steel,  Pae’s work examines how shifting states can alter our perceptions of the abstract and representational, the organic and architectural, the internal and external.

Drawn to the visceral, Pae’s protuberances and cavities, lumps and spills form mechanical organs creating entangled compositions that function symbiotically. Pae builds worlds that are invisible, fanciful, and futuristic—her objects seem aware of their own fragility oscillating between micro and macro spatiality. In paintings such as Formations or Phase (all works 2024), Pae’s imagery occupies an unfamiliar landscape; the dark strangeness of these settings heightens the alien origins of these processors, atoms, motherboards, or molecules. Across her multifaceted practice, the works speak to a desire for exploration of spaces that extend beyond human understanding.

Pae’s sculptures are constructed of disparate materials including aluminum, stainless steel, resin, glass, halite, and other organic matter. These materials are chosen for their inherent dualities, and the contrasts and tensions they activate—such as the rigidity and strength of steel juxtaposed with the softness and malleability of resin. Rounded flesh-like forms begin as abstract ideas, sensations which are given volume, density, and texture, achieving uncanny and metaphorical effects. For example the sculpture Accretion comprises bulbous forms of opaque resin and shiny steel tripod poles that act as a type of support, alluding to the relationship of bones and muscles which require each other to generate movement.

In the adjacent gallery Pae has installed a video composed of animated 3D models. The pulsating forms morph through digital processes—revealing the infinite possibilities and iterations her works take before they are realized physically. The videos are projected onto a centrally hanging web of laser-cut stainless steel tendrils. A twisting network of reflective neurons bounce light and cast shadows about the gallery as they gently sway. Equivocal and enigmatic, Permeate dissolves our sense of the internal and the external, together the works suggest something expanding, tangible, and alive as if these objects might mutate and breakaway spontaneously.

Meeson Pae (b. 1979, Indianapolis, IN) received her fine art degree from University of California Los Angeles. She has exhibited in solo and group exhibitions throughout Asia, Europe, and the United States, including K11 Musea, Hong Kong, China; Carl Kostyal, London, UK; Anat Ebgi, Los Angeles, CA; Carpenter Center at Harvard University, Cambridge, MA; Torrance Art Museum, Torrence, CA; Kala Art Institute, Berkeley, CA; and Japanese American National Museum, Los Angeles, CA; among others. Pae has completed numerous public projects and commissions including Le Meridien Hotel, Zhengzhou, China; Royal Caribbean International Ltd, Papenburg, DE; Internet Brands, El Segundo, CA; WebMD, Newark, NJ; Phoenix Biomedical University Office of Arts and Culture, Pasadena Arts & Culture Commission, Los Angeles International Airport, Ontario Airport, Ontario, CA; and Mobile Exhibits Arts Council, Long Beach, CA. Pae’s work has appeared in The New York Times, the Korea Times, the Los Angeles Times, Metal Magazine, New Scientist, Art & Object, and Prestige Hong Kong, among many others. Pae lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce Kathy Ruttenberg Illusions From A Daydream on view at 6150 Wilshire Blvd from June 29 through August 17. This is Ruttenberg’s first solo exhibition with the gallery and will feature all new ceramic sculptures. An opening reception will take place on Saturday, June 29 from 5-8 pm.

Opening the door to her inner self, Kathy Ruttenberg’s suite of ceramic pots, vases, and vessels express a deep connection to the earth (her material) and nature (her subject). Testing the limits of “functional ware,” flowers, branches, women, men, amphibia, insects, cats, and rabbits all protrude from her sculptures. Narrative and allegory flow from the hands of the artist: personal stories and private daydreams reflect on themes of ecofeminism, animal liberation, and sexuality.

For Illusions From A Daydream, Ruttenberg selected living matter—non rooting plants and branches—to display in her ceramics. A female figure in Biophilia, lays submerged in water; surrounded by water lilies, recalling John Everett Millais’s singing Ophelia, she captures the ecstatic energy and illimitable power of nature in bloom. Ruttenberg embraces duality, the porousness of categories: functional, decorative, organic, animalic. In her anthropomorphic vision, animals express an equivalent depth of emotion and personality to human subjects. Hallucinatory and surreal, It’s All in the Mind depicts the body of a woman with the head of a giraffe, defying naturalism and heightening a sense of nightmarish harmony.

Richly detailed, Ruttenberg’s tableaux are an ode to environmentalism, paganism, and fairy tales. She melds a fanciful interior world with our vital natural one, giving equal attention to grand narratives and the tiniest crevices. Her vision of the body as form and mind as an open vessel raise questions about existence, creation, myth, and the complexities of self-knowledge. Bursting with life, light, and an unbridled wildness, Ruttenberg’s forest of beasts, creatures, hybrids, and humans, part the veil of reality to a fluid world of fantasy.

Kathy Ruttenberg (b. Chicago, IL) received a BFA with honors from the School of Visual Arts, New York, NY. Subsequently, Ruttenberg studied at the School of Visual Arts, Tangier, Morocco and the New York University Graduate Program, Venice Italy. Emerging from New York’s early 1980s East Village art scene, Ruttenberg showed her work at diverse downtown venues including the Mudd Club, ABC No Rio, and the windows of Patricia Field’s fashion boutique. Participation in a 1998 ceramics class at the famous Greenwich House Pottery resulted in two decades of creations in clay that have been exhibited at venues throughout the world including Stefan Stux Gallery, New York, NY; Slademore Contemporary, London, UK; the Dubuque Museum of Art, Iowa; the Caramoor Center for Music and Art, New York, NY; the International Ceramic Biennial, Vallauris, France; the 5th World Ceramic Biennale Korea; and the 59th Faenza Price International Competition of Contemporary Ceramic Art, Italy.

Ruttenberg’s sculpture works are permanently installed at several public sites including Passage to Potential, a bronze entrance gate to an organic garden at Battery Park, New York City, NY; In Dreams Awake, at The Broadway Malls, New York City, NY; Mamiraua Sustainable Development Reserve, Amazonas, Brazil; and the Tisch Children’s Zoo in Central Park, New York City, NY. Ruttenberg has presented over forty solo shows throughout her career, most recently Twilight in the Garden of Hope at Lyles and King, New York, NY. Ruttenberg lives and works in the Hudson Valley in upstate New York.

Anat Ebgi is pleased to announce Kate Pincus-Whitney To Live and To Dine in LA/ You Taste Like Home on view at 6150 Wilshire Blvd from June 29 through August 17. This is Pincus-Whitney’s first solo exhibition in Los Angeles and with the gallery and debuts new tablescape paintings, including some of her largest to date. An opening reception will take place on Saturday, June 29 from 5-8 pm.

Synthesizing contemporary life and mythology, Pincus-Whitney’s paintings map culture, place, and self through the foods and objects we consume. She packs her maximalist paintings with platters of food from iconic Los Angeles restaurants and eateries, glittering glassware, menus, local flora, sentimental objects, and so many books. Titles range from Jonathan Gold’s Counter Intelligence to Visions of the Occult: An Untold Story of Art & Magic by Victoria Jenkins, to a catalogue of Richard Diebenkorn’s  Ocean Park paintings.

Pincus-Whitney is both dyslexic and stereo blind (which affects her depth perception), the inclusion of these texts, brand labels, and icons address legibility. Both through a literal sense—encouraging viewers to tease out their own connections, but also through an examination of how one ‘reads’ pictures. Perspectival shifts, jumps between places, cuisines, and through time (RIP Perino’s), channel the subconscious and symbolic relationships to her vast and researched references, wherein everything is mined. Here, the sacred and profane come together around the same table.

A discreet and ongoing sub-series of works, dubbed the ‘door paintings,’ adhere to the dimensions of a single door turned horizontally. They are invitations to enter and join the banquet feast set out for viewers, deities, heroines. This reorientation gestures away from so-called objective reality, leading viewers to the uncharted wilderness of psychic reality. However fractured and hallucinatory, To Live and To Dine in LA/ You Taste Like Home, ensconces us in vibrant microcosms of Pincus-Whitney’s personal sense memory and regional history, where certain restaurants and neighborhoods become characters themselves: To live, to dine, to toast, to celebrate the power of communing with one another.

At times Pincus-Whitney’s compositions act as shrines, others a stage, or narrative portraits that reveal truths about life and death, the existential and alchemical. Deeply invested in early movements of Modernism, she mines the ritual of “the meal” to tap into our collective unconscious. Taking on the tradition of cubist “still life” in the lineage of Braque and Léger,  Pincus-Whitney’s frenetic and improvisational approach is energetic, bursting, full of movement. Overflowing, these consuming constructions are the anti-still life, thrusting forward, hinging on a network of delicious abundance, nourishing the belly and the brain.

Kate Pincus-Whitney (b.1993, Santa Monica, CA) received an MFA in Painting from Rhode Island School of Design, Providence, RI and BA from Sarah Lawrence College, Bronxville, NY. In 2015, she attended Yale Norfolk Summer School of Art, Norfolk, CT. Recent solo exhibitions include Ritual Union: The Huntress at GNYP, Antwerp Belgium and The Gods are in The Kitchen at Fredericks & Freiser, New York, NY. Her work has been exhibited in group exhibitions at galleries including Anat Ebgi, Los Angeles / New York; PM/AM, London, UK; Bill Brady Gallery, Los Angeles, CA; The Pit, Los Angeles, CA; Taymour Grahne, London, UK; and in Bad Girls, curated by Gaelle Alexis at WALLSPACEPLEASE, Dubai, United Arab Emirates. Pincus-Whitney has been profiled in Juxtapoz Magazine and Forbes for 30 under 30 class of 2022. Pincus-Whitney lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce Charlotte Edey All Words Are Written In Water on view at 6150 Wilshire Blvd from April 27 through June 15. This is Edey’s first solo exhibition with the gallery and presents bead-embellished tapestries, pastel drawings, and sculpture. A public reception will take place on Saturday, April 27 from 6 – 8pm.

The language of drawing is translated throughout Charlotte Edey’s tactile, mixed media practice. Mark making and gesture are explored through extensive hand-embroidery and beading on tapestry. Comparable to hatching and stippling, these processes forge direct relationships between line, thread, and surface. Her jacquard weavings are hand embellished with thousands of glass seed beads and freshwater pearls. This latest body of work weaves together organic materials including crystal, moonstone, opalite, obsidian, onyx, lava, and topaz, giving a luminescent quality to the surface of her ethereal compositions.

All Words Are Written In Water emphasizes the slippery relationship between consciousness, embodiment, and water. The works are sequenced in the gallery like a sentence. Employing punctuation as a semiotic framework, the dashes of commas take the form of nautilus shells, quotation marks flow like droplets, parenthesis form crescent moons, and full stops interchange with pearls and bubbles. These marks are anchored to a liquidity of form and through a lens informed by both hydrofeminist and new materialist theories, forming symbolic structures that consider what it means to inhabit a watery body.

Thinking about ourselves as aqueously extending through both time and space, connects us to all of the strange bodies of water that flow into us across epochs and generations. This concern with time is grounded in the use of found and antique objects. The trio of soft pastel drawings are presented in antique found bullseye bullion glass. A familiar feature in British Victorian architecture, this early glass-making method creates a droplet effect by spinning molten glass with the navel, which ripples out to create a liquid distortion above the drawings beneath the surface.

Echoing how water sculpts landscapes, the artist has reupholstered an Edwardian era 19th century conversation chair, also known as a tête-à-tête, or gossip chair. Utilizing the linguistic history of the object, the conjoined serpentine shape allows sitters to engage in discreet conversation, while viewing the exhibition from multiple perspectives. A mirrored floor heightens Edey’s liquid metaphors by transforming the gallery into a still pool of reflection.

The exhibition is accompanied by an original text by Vanessa Onwuemezi.

Charlotte Edey (b. 1992, Manchester, England) studied at the Chelsea School of Art and Design and the Royal Drawing School, London, England. Recent solo exhibitions include Ginny on Frederick, London, UK; Robert’s Gallery, Glasgow, UK; Public Gallery, London, UK; and Flowers Gallery, London, UK. She has participated in group exhibitions at Drawing Room, London, UK; South London Gallery, London, UK; 1969 Gallery, New York, NY; Christies, London, UK; Rugby Art Museum, UK; Cob Gallery, London, UK; The Design Museum, London, UK; and The Great Women Artists curated by Katy Hessel at Palazzo Monti, Brescia, Italy; among others. Her work is held in the permanent collections of Nasher Museum, Durham, North Carolina, USA and The Royal Collection, London, UK. Recently featured as one of the 2023 Artsy “Artists On Our Radar,” Edey’s work has also been featured in publications including Financial Times, Autre, Artnet, Creative Review, Elephant, British Vogue, Metal Magazine, It’s Nice That, Dazed, Elle, AnOther Magazine and others. Edey lives and works in London, UK.

Anat Ebgi is pleased to announce Gloria Klein Unwinding Unbinding on view at 6150 Wilshire Blvd from April 27 through June 15. This is Klein’s first solo exhibition in Los Angeles and presents historic works and ephemera from the 1970s and 80s. A public reception will take place on Saturday, April 27 from 6 – 8pm.

Gloria Klein came of age in 1970s New York and played a vital role in many artist-based initiatives in SoHo and on the Lower East Side. Her paintings can be read as Minimalist, Conceptual, and systems-based, but they are also indebted to the burgeoning support for “women’s work,” the Pattern & Decoration movement, and the Criss-Cross artists. 

Klein used self-developed systems and processes to experiment with color and compositions creating intricate patterns that range from completely chaotic to highly structured geometric grids and every variation in between. Slender hard-edged hatch marks of varying lengths were core to her expression. Collectively, these hundreds of intricate almost interlocking diagonals hum with musical resonance, rhythm, and unexpected incidents that result from the layering of intersecting and competing systems. Algorithmic, they read as frequencies, digital signals, or source lines of code and explore the interplay of order and disruption, formulas, and failures of the very systems she was creating to distribute color applications.

The paintings evolved from early graph paper drawings and diagrammatic diaries, where Klein’s stream of conscious writings of repeated words, names, and phrases played out on the page in overlapping diagonals and haptic structures. The exhibition features four such diaries, documents of her experimentation with form, oases from her insecurities. Entries are varied and include declarations of selfhood, “I am Gloria Tonight,” sociality, “Everyone’s at the dining room table eating breakfast. Everyone’s eating breakfast except Sue. She’s sleeping, sleeping in her room alone,” and sensuality, “I wanted to hug her and feared it might be sexual. And if it were, so what.”

Life and painting for Klein were deeply intertwined; her legacy of advocacy on behalf of women and lesbian artists, such as herself, has long been excluded from the art historical canon. Her paintings are both arresting and slow burning, grabbing viewers with their complex harmonies and sense of constant movement. Based on her own mathematical system for dividing and organizing her canvases and systematically distributing colors, she arrives at a distinctive aesthetic, defiantly abstract while expressive of the complexities of life and the world. Klein imparts her boisterous paintings with emotive and rational perspective, visualizing the complexity of people and society, life’s problems, its solutions, movements, feelings, and experiences.

Gloria Klein (b. 1936, Brooklyn, NY; d. 2021) began her adult education with a BA in Economics at the Brooklyn College, City University of New York. Following which she attended the Brooklyn Museum School of Art, the Art Students League of New York, and finally in 1970 she enrolled at Hunter College where she took classes with conceptual artist Robert Barry and Robert Swain. She obtained her MA in art from Hunter College in 1973. Klein exhibited widely in group and solo exhibitions throughout the 1970s and 80s and was actively involved in alternative art networks. She exhibited in A Lesbian Show (1978) curated by Harmony Hammond at 112 Green St. Workshop, contributed work for Heresies Magazine “Lesbian Art and Artists” issue (1977), curated 10 Downtown 10 Years (1977) held at MoMA PS1 in New York, and was active with the Criss-Cross Art Cooperative group. Klein exhibited her work in galleries and museums including Hunter College, New York, NY; The Brooklyn Museum, Brooklyn, NY; The Aldrich Museum, Ridgefield, CT; P.S.1., Long Island City, NY; 112 Workshop, New York, NY; and A.I.R., New York, NY, among many others. Her last solo exhibition was in June 2021, when Christie’s, in association with April Richon Jacobs, presented her first major solo exhibition in New York.

During her lifetime, Klein was awarded several awards, including artists’ residences, scholarships, and grants such as the International Women’s Year Award (1975-76); Studio Space at Vermont Studio School, Johnson, VT (1988); Honorable Mention, Turchin Center for Visual Arts, Boone, North Carolina (2005); Adolph & Esther Gottlieb Foundation Grant (2005), and Pollock/Krasner Foundation Grant (2007). Her work can be found in many private and public collections including The Blanton Museum of Art at the University of Texas at Austin, Chase Manhattan Bank, Citibank, Swiss Reinsurance Company and Texaco among others.

Anat Ebgi is pleased to announce Olive Diamond: To Be Sung and Remembered on view at 6150 Wilshire Blvd from March 8 through April 20. This is Diamond’s first solo exhibition with the gallery and presents a suite of new ceramic tableaus and vessels. An opening reception will take place on Friday, March 8 from 5 – 8pm.

Informed by real oral histories from her family and imagined versions that expand on these narratives, Diamond’s work considers a wide-lens view of migration and movement through landscape, tableau, and portraiture. Although specifically inspired by her Jewish heritage, such as family members who escaped persecution through Russian forests, or journeyed to French colonies in Morocco, or her grandmother born in a refugee camp in Siberia, the exhibition delves into these tales of displacement and passage to explore profound depths of human experience—love and loss, fate and coincidence.

Placing these subjects in abstract and almost hallucinatory landscapes, Diamond’s reimaginings of various family passages, explore ever resonant questions about who is remembered, what traditions are passed on, and where is home? These etched stones function as tablets of memory. Situated in near-abstract landscapes and filled with light and vivid color, the artist carves a record and preserves history. She looks to the past to gain perspective and wisdom for how to move forward along in her journey through the present. Working intuitively with color, mixing her own glazes, the works retain an aura of chance and mystery; highly seductive they are born through an unfolding process of discovery and reaction.

Two bust-like vessels in the exhibition, each with an expressive face function like “omniscient protectors” in these scenes—all knowing and all seeing. They hearken to Diamond’s inspiration from Kabbalah’s that the world was created in a vessel, and that God’s light came into the vessel shattering it, infusing everything in the universe with His light. Diamond crowns these personified jars with found metal toppers, suggestive of antique perfume vessels, or uncovered antiquities, bestowing them with a deity-like presence in the exhibition, sources of spiritual strength and mystical intervention. 

Olive Diamond (b. 1998) graduated from Rhode Island School of Design in 2021 with a BFA in Painting and Ceramics. Diamond was awarded the 2021 Florence Leif Award and the 2020 Anderson Ranch Fellowship. Her work has been exhibited at the Fall River Museum of Contemporary Art, Fall River, MA (2021); Loyal Gallery, Stockholm, Sweden (2022); Soho House, Los Angeles, CA (2023); Japanese American Cultural Community Centre, Los Angeles, CA (2022); Sow & Tailor, Los Angeles, CA (2021) Unit London, London, United Kingdom (2022); South Willard Gallery, Los Angeles, CA (2022); and 1969 Gallery, New York, NY (2023). Diamond lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce Hannah Brown: Hollow Pond on view at 6150 Wilshire Blvd, Los Angeles from March 8 through April 20. This is Brown’s first solo exhibition in the United States and with the gallery. An opening reception will take place on Friday, March 8 from 5 – 8pm.

Her sensitive depictions of Hollow Pond, which she describes as a “sliver of wilderness” near her home on the outskirts of London, establish her as one of the most interesting artists working in the historied genre of landscape painting. For the exhibition Brown created a suite of large scale oil on canvas paintings, as well as more intimately scaled oils on panel. Surrounded by main roads with buses and ambulances whirring by, the pond itself is something of a holdout with a history that captured Brown’s attention. What appears to be a bucolic oasis on the edge of urban development, is in reality a byproduct of the Victorian building industry; after the industrialists dug up gravel materials, the pits left behind filled with water and over time the site became a man made nature reserve.

Within the history of landscape painting—many artists have been identified by a particular place or area they repeatedly returned to in their work. Brown continues this tradition, frequently visiting Hollow Pond to observe seasonal changes, subtle shifts in light throughout the day, or other minor occurrences. She makes prominent these impressions, such as mud that has turned orange through iron-oxidation or algae bloom that appears in multiple works. Brown indulges formal pleasures using a menacing radioactive green while transforming the familiar pond into something alien and strange, or feminizing the sky with a pink chalkiness as an intervention on naturalism and observation. 

Brown’s engagement with tropes of landscape takes many detours—avoiding blue skies, pretty flowers, and wildlife—she taps into all the ideals of nature and the countryside without being saccharine. Her perspective is low to the ground, peering through bushes, viewers may sense they are voyeurs or wanderers, just off the path taking in the “anti-vista.” By nature, landscape painting has deeply romantic associations. Brown’s ordered and objective titling structure resists the poetic or lyrical impulse. Instead they serve almost as a catalogue or index of time, named for the site they depict, each one numbered sequentially upon completion. In turn the paintings take on a clinical distance and consistency. Together the paintings in Hollow Pond question the use and value of bucolic imagery, how we perceive reality, and our psychological relationship to the natural environment.

Hannah Brown (b.1977, Salisbury, England) completed her BA in Sculpture at Central St. Martins in 1999 and her MA at the Royal College of Art in 2006. Recent exhibitions include: Arcadia and Elsewhere, James Cohan Gallery, New York, NY; Arcadia for All? Rethinking Landscape Painting Now, The Stanley & Audrey Burton Gallery, Leeds and Attenborough Arts Centre, University of Leicester, Leicester, UK; Entwined: Plants in Contemporary Painting, 20-21 Visual Arts Centre, Scunthorpe, UK; If you forget my name, You will go astray, Anat Ebgi, Los Angeles, CA; I Stood Still, Frestonian Gallery, London, UK; This Muddy Eden, Broadway Gallery, Letchworth, UK; Before Long, Union Gallery, London, UK; The London Open, Whitechapel Gallery, London, UK; and The Annotated Reader, curated by Ryan Gander and Jonathan P. Watts, Cork Street Galleries, London, UK; among others. In 2021 she was featured in the John Moores Painting Prize. Her work is held in private collections internationally, including Japan, Korea, Switzerland, U.A.E, UK & USA, and has been acquired for the permanent collections of the State Art Collection of Ireland, Dublin; the V&A Museum, London and the Xiao Museum, Rizhao, China. Brown lives and works in London.

Announcing VAMPIRE::MOTHER, curated by Jasmine Wahi, presented by Vortic Curated and Anat Ebgi 

On view at Anat Ebgi, 6150 Wilshire Blvd, from 27 January – 2 March 2024

The exhibition is also available to view on Vortic.art.

The digital extension will be available to view on vortic.art from 28 February – 22 May 2024.

Curated by Jasmine Wahi, VAMPIRE::MOTHER is an exhibition realised by Vortic Curated and Anat Ebgi. The latest iteration in Vortic Curated’s hybrid exhibition series, VAMPIRE::MOTHER will open at Anat Ebgi’s Wilshire Boulevard gallery in Los Angeles from 27 January to 2 March 2024, with a virtual extension launching to coincide with Frieze L.A. on 28 February 2024.

The exhibition presents work by 15 contemporary artists responding to and pulling apart the imposed and oversimplified stereotypes affiliated with women/femmes. They are: Daphne Arthur, Jessica Taylor Bellamy, María Berrío, Tammi Campbell, Bhasha Chakrabarti, Saskia Colwell, Chantal Joffe, Jane Margarette, Marilyn Minter, Katherina Olschbaur, Paula Rego, Laurie Simmons, Mickalene Thomas, Nadia Waheed, Shoshanna Weinberger.

As explained by the curator, Jasmine Wahi: 

VAMPIRE::MOTHER attempts to disrupt linear and binary structures and impositions by presenting the idea that multiple realities (and selves) can exist simultaneously … and asks artists to consider the reductive nature of these roles and subvert them. It invites them to consider how we use our ‘wiles’ as a means of subterfuge. 

The seductress can be a kitten, soft and cuddly; or she may be a vampire. It is a show that embraces the mainstream tendency to navigate the world through a rigid binary framework. But truly, it subverts this lens, and dismantles binary structures, mushing them into a gloop of indefinable and intersectional identities”.

In curating the exhibition, Wahi guided the artists through a process using a set of evocations, including words, terms, feelings, and quotes. These elements were chosen to provide context and conjure visceral sensations associated with the broader themes of the show. Departing from the conventional approach, the curator collaborated closely with each artist, encouraging them to create new works inspired by their instinctive responses to these phrases and prompts.

In the curator’s words, the outcome is “an ooey-gooey smorgasbord that reflects the gushy messiness of our multiple selves”, which captures the complexity inherent in our existence, recognising the coexistence of our capacity to nurture and destroy. 

A digital and VR replica of the exhibition will be available to view throughout the duration of the physical show both at Anat Ebgi and on vortic.art.

The VR and web extension of the exhibition will be unveiled during Frieze L.A. on 28 February 2024 and will run until 22 May 2024 exclusively on vortic.art. This virtual experience has been developed with curator Jasmine Wahi and three of the artists included in the physical exhibition: Bhasha Chakrabarti, Laurie Simmons, and Shoshanna Weinberger. It will present bespoke virtual environments for each artist, including a haunted castle and a doll’s house, aiming to offer visitors a heightened and immersive encounter with the featured artworks, enhancing the overall exhibition experience.

A preview of the digital extension will take place on 27 February 2024 at Anat Ebgi, from 5 to 7pm. 

Anat Ebgi is pleased to announce The End of the Night, a solo exhibition of new work by New York based artist Karyn Lyons on view at 6150 Wilshire Blvd, January 27 – March 2. This is the artist’s first solo exhibition with the gallery and in Los Angeles. An opening reception will take place on Saturday, January 27 from 5 – 7pm.

With a fondness for the exciting and disturbing emotional currents that charge adolescence, The End of the Night acts as a remembrance, or even a goodbye to those unbridled moments of girlhood. Smoldering and pining, Lyons weaves fantasy with the autobiographical to compose imaginative scenes of those complicated, not-yet-tamed between-times of exploration and discovery.

These intimately-scaled paintings, oils on linen, interspersed with works on vellum, draw viewers into an emotionally resonant and personally moving world. In The Dominion of Night, a girl is seen standing in a glowing house at nighttime, above this scene is a striking daytime sky—a surprising and extraordinary collision and homage to surrealist René Magritte. Across the works, her subjects are discovering their own dominion over body and mind, caught mid-embrace, sneaking a cigarette, or sitting in her bedroom longing for love, new (adult) possibilities are out there. Not entirely alone, Lyons’ subjects are occasionally accompanied by a watchful cat, itself a symbol of mischievousness, femininity, and assurance.

Little time markers such as a David Bowie poster hanging on the wall and even the title to the exhibition (taken from a B-side by The Doors), turn back the hourglass to a pre internet era escapism. Lyons’ filmic compositions recall those luscious days when all you could do was sit by the phone and hope you didn’t miss the call. Meanwhile you pass the time listening to records; the mind wanders, putting on plays on the enchanting stage of your imagination. Mysterious and romantic—these pictures are exorcisms of desire, brightly painted and strikingly transposed in a minor key. 

Karyn Lyons (b. New Haven, CT) received a BA in Journalism from the American University in Washington, D.C.. She did post-graduate studies at The School of the Museum of Fine Arts, Boston, MA. She has exhibited in solo and group exhibitions at Anat Ebgi, Los Angeles/New York; Timothy Taylor, New York, NY; TURN Gallery, New York, NY; Stems, Paris/Brussels; Carl Kostyál, Milan; and Friends Indeed Gallery, San Francisco, CA; among others. Lyons lives and works in New York City, NY.

Anat Ebgi is pleased to announce Fratricide, a solo exhibition of new works by Gray Wielebinski. This is the artist’s first solo exhibition with the gallery. An opening reception will take place at 6150 Wilshire Blvd, Saturday, October 28 from 5 – 7pm.

Now you are cursed from the ground, which has opened its mouth to receive your brother’s blood from your hand. — Genesis 4:11

When is violence real? For most of us, the problem this question poses begins in infancy, when, feeling bored, we notice that a sibling sits temptingly within kicking distance. The first, tentative kick elicits a laugh, a half-hearted kick in return. Gradually the kicks become sharper, more ambiguous in tone. Aggressive feelings surface, seemingly out of nowhere. What began as a joke turns into a game, then a competition, then a fight. Gulps of laughter morph into screams and tears. One child calls for mother, while the other submits their plea: We were just playing!

Gray Wielebinski’s Fratricide investigates the hazy border between violence and play, love and hate, punishment and pleasure, crystallized in a series of collaged paddles reminiscent of those used in fraternity hazing rituals. Although first recorded as a hazing practice in the late nineteenth century, the popularity of paddling drastically increased after the Second World War, when ex-soldiers brought military rituals into their fraternities. The contemporary backlash against hazing has led many Greek organizations to repurpose paddles as decorative gift objects, a shift Wielebinski seems to emulate in adorning his sculptures with collage. At the same time, the imagery found here—of male beauty, severed body parts, homoeroticism, and tools of discipline—speaks to an entangled legacy of desire, aggression, and humiliation that cannot easily be shaken off.

Wielebinski’s practice has long attended to the disavowed homoeroticism within normative American masculinity, whether in the form of a passionate embrace between football teammates or the perfectly sculpted male bodies put to commercial use by Abercrombie & Fitch. With Fratricide, he compels us to attend to the long history of cruelty within which such desires are too often embalmed. Alongside these paddles, Privacy Screen #2, a hauntingly majestic room divider manages to simultaneously evoke an ornate gate, a torture device, and the mundane dystopia of hostile architecture. Playing on the semantic slide between intimacy and private property, the title speaks to the futility of absolute privacy in a hypersecuritized and surveilled world.  

Failed attempts at separation lie at the heart of the fratricidal impulse, which inevitably leads into the eerie territory of twins, doubles, and doppelgangers. As literalized by the word itself, homophobia can be understood as fear of the selfsame, a hostility to the repressed desires lying within one’s own heart. Terrified of the threat from inside, we erect barriers, hopelessly attempting to curtail our own freedom by forestalling the freedom of others. The psychoanalytic tradition famously traces the root of oppression to the familial scene of conflict and competition. Highlighting “the fratriarchal dimension of the oppression of women,” the feminist psychoanalyst Juliet Mitchell has emphasized that “violence against women is initiated by the wish to eradicate a sibling who replaces the toddler as the baby.”

However literally we might take such claims, if violence toward others has any origin in fratricide, then it might be possible to reroute this trope toward a liberatory potential. “Doppelgängers, by messing with our heads and our illusions of sovereignty, can help teach us this lesson: that we are not as separate from one another as we might think,” Naomi Klein has recently argued. “Not as individuals, and perhaps not even as groups of individuals who have been born into various kinds of seemingly eternal fratricidal duels.”

Gray Wielebinski (b. 1991 Dallas, TX, USA) received a BA from Pomona College, Claremont CA, USA in 2014 before completing an MFA from the Slade School of Fine Art, London, UK in 2018. Recent exhibitions include: group shows at Goldsmiths Centre for Contemporary Art, London, UK; Francois Ghebaly, Los Angeles, CA; Bold Tendencies, London, UK; and V.O Curations, London, UK. Recent solo exhibitions include: Love and Theft, 12.26 Gallery in Los Angeles, CA; Oil and Water, Hales Gallery in London; and Two Snakes, 12.26 Gallery in Dallas, Texas (2020). Recent residencies include V.O Curations, City and Guilds in London in 2021 and 2019 respectively and at the Academy of Visual Arts in Hong Kong in 2018. His first book 100 Baseball Cards was published with Baron Books in 2022. Wielebinski’s work is in the collections of Los Angeles County Museum of Art, CA, and San Francisco Museum of Modern Art Library & Archives, CA. Wielebinski’s first institutional solo exhibition The Red Sun is High, the Blue Low is currently on view at ICA London through December 23. Wielebinski lives and works in London, UK.

Anat Ebgi is pleased to announce Substance to Shadows, an exhibition of new paintings by London-based Israeli artist Gideon Rubin. This is Rubin’s second solo exhibition with the gallery. An opening reception will take place at 6150 Wilshire Blvd, Saturday, October 28 from 5 – 7pm.

Gideon Rubin paints in a concentrated, dense, and restrained figurative mode. His practice is the product of private calculations: how few gestures might suggest, rather than describe a situation, a figure, or a landscape. Conceptually he is concerned with reduction and constraint. His controlled and subtle palette is suggestive of his source materials: vintage photos, film stills, and magazine clippings, yet narratively he leaves plenty of room for viewers to wander.

For Rubin, film and photography are closely linked to memory and history—capturing a single moment in time, be it significant or personal. Although stripped of their original contexts, the paintings in Substance to Shadows draw primarily from Andrei Tarkovsky’s The Mirror (1975), Eric Rohmer’s A Summer’s Tale 1996, and the Cuban film Memories of Underdevelopment (1968) by Tomás Gutiérrez Alea. The specifics of the characters and scenes he considers via his paintings are left open-ended and ambiguous. Instead, he hints at story through atmosphere and mood, constructed from painterly explorations of light, shade, composition, and color, resulting in paintings that retain the drama and mystery of cinema.

Annulled from space, exonerated from time, Rubin breathes a new freedom into his scenes wherein a certain distance and anonymity multiplies their effectiveness. Like snapshots, these collected fragments leave behind the trace of life through which the artist muses on themes of adolescence, young love, or a first kiss. The underlying elusive structure of his pictures is a potent intimacy, offering a site to contemplate memory, history, and identity.

Gideon Rubin (b. 1973, Tel Aviv, Israel) received his MFA from Slade School of Fine Art, University College, London and his BFA from the School of Visual Arts, New York, NY. His work has been the subject of important solo and group exhibitions at K11 Art Museum, Shanghai, China; Rubin Museum, Tel Aviv, Israel; the Freud Museum, London, UK; the Museum of Contemporary Art Chengdu, Chengdu, China; San Jose Institute of Contemporary Art, San Jose, CA; and Herzliya Museum of Contemporary Art, Herzliya, Israel, among others. Rubin’s work is represented in prominent public collections worldwide including Collezione Fondazione San Patrignano, Italy; Fondation Frances, France; Herzliya Museum for Contemporary Art, Israel; McEvoy Foundation for the Arts, CA; Museum Voorlinden Collection, Netherlands; Rubin Museum, Israel; Ruinart Collection, France; The Seavest Collection, NY; Sender Collection, Germany; the Speyer Family Collection, NY; and the Zabludowicz Collection, UK, among others. Rubin lives and works in London, UK.

Anat Ebgi is pleased to present The Den, a solo exhibition of new watercolor paintings by Los Angeles artist Lisa Edelstein. The exhibition will be on view at 6150 Wilshire Blvd, from September 16 through October 21, 2023. An opening reception will take place Saturday, September 16 from 3 – 6pm.

Lisa Edelstein’s watercolors are marked by an informal and intimate quality. She turns back the clock to an earlier era, not time frozen, rather a conjuring of the familiar past, vivid enough to walk around in for a little while.

Unhurried and deliberate, Edelstein’s works chart a course through memory and time. These navigations begin with the fact that her material is culled from family photo albums and home movies. We’re transported to the salad days of the 1970s—the Edelstein family on a stroll, a vacation to Fire Island, teens drinking Diet Pepsi sitting around a bong, friendly folks gathered in the den.

Edelstein’s selection process is dramaturgical. She prioritizes scenes, stories, and narrative to drive her compositions. The mid 70s heralded a revolution in making home movies through increased access to portable easy-to-operate cameras and video equipment. A pair of works Home Movie: New Camera and Memory depict the enthusiasm of amateur photographers—burgeoning family documentarians pointing their cameras at each other—capturing the moment.

Edelstein strikes many moods: comedy (The Glare), drama (Stoop), and the absurd (Home Movie: Grapefruit). The slightly out of focus and offhanded attitude of compositions such as Den or Home Movie: Umbrella Dance reach into our mundane yet poignant memories of the past. In painting them, Edelstein has given these photographs an enormous amount of concentrated attention when contrasted with the original photographers, who casually pointed a camera in the direction of some action and snapped away. Her painterly mist points toward the complexities of memory to the expanse beyond.

Edelstein bathes us in a cloistered coziness and the warmth of human stories. With a less-defined purpose than say a kitchen or bedroom, The Den is a metaphor for a place with open-ended functionality, with many possibilities—as a protected nook to be totally at ease, to turn up the radio, to page through the family album, or simply sit with your thoughts.

Lisa Edelstein (b. 1966, Boston, MA) studied drama at New York University. Her career began by writing, composing, and performing an original AIDS awareness musical Positive Me at the renowned La Mama Experimental Theater Club in New York City. She pursued a successful acting career in television and film. In recent years, she has also begun directing and writing her own projects. Her first solo exhibition of paintings and watercolors, Family, took place at SFA Advisory in 2022. Edelstein lives and works in Los Angeles, CA.

Anat Ebgi is pleased to present Between past and present/ Between appearance and memory, a solo exhibition of new paintings by Soumya Netrabile. The exhibition will be on view at 6150 Wilshire Blvd, from September 16 through October 21, 2023. An opening reception will take place Saturday, September 16 from 3 – 6pm.

Mining memories from daily walks in nature, Soumya Netrabile’s works emerge from the phantasm of a breeze, the record of a cosmic wrinkle. Working intuitively, many things about these environments are dubious, are channeled from a place of lyricism and abstraction into a personal vernacular of painting. Within flaming forests of green, amber, and peach, real space dissolves into mists of tenderness enfolded in mountains of longing. Occasional animals or figures appear from scrawled yet intentional flickering brushwork: haloed, dwarfed by their swirling surroundings.

Netrabile is a painter who thinks like a poet, using paint to suggest something larger, something deeper, sharper, enchanted, bewitching. Formal choices, light, color, and gesture, emerge from internalized locations beyond logic and justification. It’s her familiarity with her subject which allows her to unlock profound memories of being enveloped in nature’s canopy onto canvas and the simultaneity of all these elements compressed onto one surface.

Guided by the freedom of roaming through the woods, allowing her mind to wander through daydreams, Netrabile’s approach to painting begins with an openness. Each painting is a new path, unfolding as she goes. She doesn’t have a system; she works with intensity and patience, considering formal questions of structure, composition, and density. One approaches the paintings expecting to witness a landscape, but after a moment you may have tumbled in—following a bird through sun dappled woods, crawling through damp grasses and brambles. Without realizing you’ve drunk from the brook, put a leaf in your mouth. 

Included among the paintings in the exhibition is a nearly 30-foot continuous drawing, displayed flat on a table—allowing for viewers to forge their own path through the haunts of Netrabile’s rigorous drawing practice. Returning to the studio with these embodied memories, Netrabile emphasizes direct experience and intimacy rather than portals and vistas; show, don’t tell. Poetic and metaphysical connections are the result of steady drips of daydreams, painterly transmissions through a method of sustained focused noticing, one that is transformational, precise, and open.

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.

Anat Ebgi is pleased to present Seven Suns, a solo exhibition of new paintings by Los Angeles artist Jen Hitchings. The exhibition will be on view at 6150 Wilshire Blvd, from July 7 through August 19, 2023. An opening reception will take place Friday, July 7 from 5 – 8pm.

Jen Hitchings’ surreal landscapes reveal an ongoing investigation of the psyche, interpersonal relationships, erotic desire, and cosmic forces. Her compositions explore cycles and rhythms of human and natural experience: lunar, solar, seasonal, menstrual, reproductive, weather, and plant life. Physical and internal worlds convene in each painting through uncanny symmetry, patterns, and reflections, illuminating the beauty and mystery of nature.

The scenes are amalgamations of actual and imagined space, drawing inspiration from the Hudson River School painters, spiritualist archetypes, science fiction film posters, and psyche rock album covers. In Hitchings’ hands, the vastness of nature is transformed into otherworldly vistas, populated by glowing waterfalls, hazy mountain ridges, and beckoning coulees. Glimmering in the sky of many paintings, Hitchings includes a constellation of stars significant to each landscape or person she experienced the place with—a merging of the personal, emotional, and astronomical.

Serenely still, Hitchings’ world appears apocalyptic, a vision of the world when human life has ceased, or perhaps before it began. The exhibition title, Seven Suns, is an allusion to Buddhist eschatology, describing how the world will come to an end through sequential disappearance of water and eventual combustion. Elements within and between each painting are unified by subtle color shifts and tangents, seemingly  unaffected by the human understanding of time and space Transcendentalism and Eastern philosophies guide Hitchings’ appreciation for nature, solitude, interconnectedness, and other beings—and consequently shape her vision of life and translation of it through painting.

Hitchings describes her landscapes as post-anthropocentric, depicting a version of our planet without human presence. The combination of naturalistic and acidic colors suggest an uninhabitable or potentially radioactive environment. However, stems and pairs of plants suggest a future, strong-willed survivors. This delicate, uncanny wavering between serenity and sorrow, isolation and unity, day and night, is the emotive response the works strive to elicit—where two opposites meet at the beginning and end of a cycle.

Jen Hitchings (b. 1988, New Jersey) received her BFA in Painting & Drawing from SUNY Purchase College and a Certificate in Small Business & Entrepreneurship from CUNY Hunter. She has exhibited her work in solo exhibitions at Taymour Grahne Projects, London, UK; One River School, Englewood, NJ; MEN Gallery, New York, NY; and PROTO, Hoboken, NJ. Recently she has participated in group exhibitions at Anat Ebgi, Los Angeles, CA; Gaa Gallery, New York; Taymour Grahne, London, UK; Cindy Rucker, New York, NY; Ideal Glass, New York, NY; and Newark International Liberty Airport, Newark, NJ. Hitchings has attended residences at the Vermont Studio Center, Johnson, VT; Studio Kura, Itoshima, Japan; and Highly Authorized, Ellenville, NY. Hitchings lives and works in Los Angeles, CA.

Anat Ebgi is pleased to present Janus, a solo exhibition of new paintings by Swedish artist Sigrid Sandström. The exhibition will be on view at 6150 Wilshire Blvd, from July 7 through August 19, 2023. An opening reception will take place Friday, July 7 from 5 – 8pm.

Please join us for a walk-through led by artist Sigrid Sandström and art historian Suzanne Hudson, Friday, July 7 at 5pm.

For over two decades, Sandström has concerned herself with the surface of the canvas, exploring one of the oldest motifs in painting: the landscape. Though abstract, her works are reminiscent of landslides, melting glaciers, and celestial phenomena. Stripping painting back to its basic element: paint applied to surface, Sandström explores endless techniques and variations—staining, pooling, brushing, smearing, seeping, and an inventive printing gesture where Sandström coats crumpled material with paint and presses it to the canvas, leaving behind a contact print.

The exhibition title makes allusion to Janus of Roman mythology. The god of doors, gateways, and transitions, the two faces of Janus attend to every angle, to past and future, to entrance and egress, to comings and goings. Alongside wall works, the exhibition features a trio of paintings shown hanging freely from the gallery ceiling. These suspended works are intended to be experienced from both sides. Despite wildly different temperaments, the recto and verso of the canvas are given equal status. 

As if in constant motion, Sandström’s compositions tumble and whir. There is a sense of something happening on these canvases, while simultaneously revealing how they came to be. Each shape-gesture is distinct in tone and attitude. What at first appear to be form-based experiments, in the next moment transform into illusions of dizzying depth. Sandström offers us the chance to look, to look again. Sandström’s inquiries take place on a stage of raw canvas transporting us somewhere bottomless, edgeless, boundaryless. From this visual blankness, emerges a rhythm and structure of color and shape waiting to be absorbed by the past and projected into the future.

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.

Anat Ebgi is pleased to announce Sigil, a solo exhibition by British painter Ryan Driscoll, on view at 6150 Wilshire Blvd, May 13 – June 24, 2023. This is the artist’s first exhibition with the gallery and in the United States. An opening reception will take place Saturday, May 13, from 5 – 8pm.

For this exhibition, Driscoll created a series of nine oil paintings and a watercolor, each depicting imagined scenes of mysticism and imagery inspired by the occult. A sigil is a symbol or design used in occult and magic practices created with the intention of representing particular desires or outcomes. These pictorial symbols allow one to focus on an icon during ritual and meditation practices, aiding the practitioner to draw focus and manifest their desired outcomes.

Driscoll’s reference points are associative and personal in nature rather than direct quotations. Their vastness extends beyond this list, but includes horror imagery, Beowulf, the Scottish poet Robert Burns, Cindy Sherman, Shakespeare’s MacBeth, and Picnic at Hanging Rock by Joan Lindsay. Like the chemically thin layers of glazing Driscoll applies to his emotive compositions, each influence adds its own depth to the morose and unexpected images.

Reverberating with references to the romance and theatricality of Pre-Raphaelite and Mannerist painting, Driscoll’s affinity for art history materializes in his approach to experimenting with painting techniques. Notably sfumato, the canonical painting mode of the Renaissance, whereby figures emerge through gradual tonal modulations. Further, multiple works use a technique called decalcomania, commonly associated with surrealist Max Ernst. The transfer technique is essentially a blotting process where paint is squeezed between two surfaces to create a mirrored image. Driscoll uses glass to print the still wet paint onto his canvases creating the cliffs in Hanging Rock and cave-like framing in Grendel’s Mother.

Suggestive of a world populated by Neo-cults and bejeweled ceremonialism, Sigil courts themes of revelry, vengeance, desire, love, and death. Hearkening to paganism, mother and antithesis of Catholicism, works such as The Red Dragon alludes to both The Book of Revelation and depictions of early Christian martyr and homoerotic fascination, Saint Sebastian. Here, Driscoll has replaced the arrows which typically pierce Sebastian’s perfectly posed torso with serpent-tongued monsters. Each retablo-like image operates as an incantation; eerie litanies to conjure hidden knowledge. The results are generative. Mining the depths of a private emotional world, Driscoll proposes a mythos of his own.

Ryan Driscoll (b. 1992, Corby, UK) received his BA in Fine Art from Camberwell College of Art, London. He has exhibited his work in solo and group presentations including at Soft Opening, London, UK; Anat Ebgi, Los Angeles, CA; STEMS, Brussels, BE; Grimm, Amsterdam, NL; and Meredith Rosen Gallery, New York, NY. In 2018 Driscoll won the British LGBTQ+ Awards Art Initiative. Driscoll lives and works in Corby, UK.

Anat Ebgi is pleased to announce Wild Mountain Thyme, the debut solo exhibition of Los Angeles painter Gwen O’Neil, on view at 6150 Wilshire Blvd, May 13 – June 24, 2023. An opening reception will take place Saturday, May 13, from 5 – 8pm.

The exhibition is a love letter to Los Angeles, to its striking quality of light, its proximity to the ocean, its expansive skies and majestic mountains. The title, Wild Mountain Thyme refers to a Scottish/Irish folk song of the same name, occasionally known as “Purple Heather”—apt given O’Neil’s bold usage of purple. The song, a love song, was adapted and performed by countless artists and musicians over the last seventy years including James Taylor, The Byrds, and Joan Baez.

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 Southern California twilight, contemplates spiraling geometry of shells, and interprets hypnotic formations of starlings, known as murmurations. 

Unifying gestures of opening and closing, expanding and collapsing, convey a sense of motion, urgency, dynamism. These cascades of energy guide the eye across winding contours, suggested altitudes—expansive horizons, and Hollywood’s ridge roads. O’Neil listens intuitively to the workings of her process. Her all-over compositions maintain a balance between steady systematic marks and an improvisational looseness explored through color. Formally and conceptually the works hearken to a west coast tradition of capturing light, luminosity, and atmospheric color. The exhibition serves as a manifesto of the invisible forces and energies that surround us.

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.

Anat Ebgi is pleased to announce Aria, a solo exhibition of new work by Los Angeles artist Soo Kim on view at 6150 Wilshire Blvd, March 9 – April 22, 2023. This is the artist’s first solo exhibition with the gallery. An opening reception will take place Thursday, March 9 from 5 – 8pm.

Soo Kim’s photographic works employ techniques of cutting and layering in order to introduce areas of absence or disruption. For Aria, Kim produced a suite of photographs depicting the process of arranging a bouquet of red, yellow, and blue flowers. Riffing on a Bas Jan Ader film Primary Time from 1974 wherein the artist rearranged vases of flowers to be exclusively yellow, then red, then blue—Kim’s elegiac series moves beyond conceptual notions of maintenance and formal implications of color, and into themes of care, touch, comfort, and reflection.

Moved by the terminal diagnosis of a friend, this series of still lifes was sparked by the desire to memorialize, to offer a tenderness. Notably, it marks an inward turn for Kim’s practice; contrasted by previous bodies of work, which drew the artist outside of the studio and into cityscapes and nature, these photographs were shot inside the artist’s studio and are imbued with a sensitive intimacy.

The works are at once additive and extractive, while a pair of hands arrange and adjust the blooms considering the passage of time, Kim’s surgical-like process of cutting and removal interrogates building blocks of formalism through composition and color juxtapositions. Flowers are a powerful symbol of life’s sensual pleasures. Fragrant eye candy, their presence can mark a range of occasions conjuring images of weddings (celebration), funerals (mourning), or hospitals (birth, illness, and recovery). Operating like Dutch still lifes and vanitas paintings, the works in Aria reach for something permanent, offering their beauty while reminding us of the cyclical qualities of nature and the impermanence of life itself.

As a compliment to this new series of works, writer Sarah Shun-lien Bynum contributed a poetic text installed inside the exhibition.

Soo Kim’s (American, born South Korea, 1969) work has been the subject of solo and group exhibitions at The Pasadena Museum of California Art; Pomona College Museum of Art; the Getty Center, Los Angeles; The 2002 Gwangju Biennale, Korea; Weatherspoon Art Museum, North Carolina; the Orange County Museum of Art, Newport Beach; Architecture and Design Museum, Los Angeles; Art Sonje, Korea; Islip Art Museum, New York; the Museum of Photographic Arts, San Diego; Frances Lehman Loeb Art Center at Vassar College, New York; Seoul Museum of Art, Korea; and the Honolulu Museum of Art, among others.

Kim’s work is in public collections, including The Getty Center, The Broad Foundation, The Albright-Knox Art Gallery, the Los Angeles County Museum of Art, Museum of Photographic Arts, San Diego, North Carolina Museum of Art, and The Escalette Collection of Art, Chapman University. A monograph of her work, A Week Inside Two Days, was published in 2018. Kim lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce Porzellan Manufaktur Allach, a solo exhibition of new paintings by Robert Russell on view at 6150 Wilshire Blvd, March 9 – April 22, 2023. This is the artist’s fourth solo exhibition with the gallery. An opening reception will take place Thursday, March 9 from 5 – 8pm.

Please join us Wednesday, April 12, at 6:30pm for a conversation at the gallery between Robert Russell and Charles Gaines, moderated by Thomas Lawson.

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. His newest series depicts Allach porcelain figurines produced by forced labor in Nazi concentration camps and factories. This exhibition follows recent presentations of his porcelain ‘Teacup’ paintings and broadly continues explorations of Memento Mori and Vanitas, but “touches on something more personal.”

The Allach Porcelain Manufacturing company was established in 1935 just outside of Munich. The factory was funded by Henrich Himmler of the German Reich in order to produce the finest porcelain objects celebrating purity, Aryanism, the occult, and Germanic culture to give as gifts to the SS Soldiers. As the war progressed, the factory lost its labor source and moved production to the Dachau concentration camp where Jewish prisoners, amongst other slaves, were forced to continue their production. Until they were liberated in 1945, these prisoners, living in unimaginable circumstances created figurines of such things as puppies, sheep, rabbits, and perfect aryan children.

Russell places these subjects against vacant horizonless backdrops, the result is compositions that are hauntingly still and breathless. The figurines are also marked by a 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.

Russell based these works on auction lot photos of the few remaining and exceedingly rare figurines. Originally destined to adorn Nazi tables and shelves, this reclamation unveils a sinister story. In his own words he explains, “I wanted to take these objects back for myself, to reclaim them as a Jewish artist, to paint them vastly larger than life, exposing them as the monstrous creations they really were.” At this monumental scale, once tiny creatures tower over the viewer, deer and puppies transform into monolithic memorials of genocide. 

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.

Anat Ebgi is pleased to announce Falling Together, a solo exhibition of new paintings by Molly Lowe. This is the artist’s first solo exhibition with the gallery. An opening reception will take place at 2660 S La Cienega Blvd, Saturday February 25 from 3 – 5pm.

At once abstract and figurative, the paintings in Falling Together channel a way of observation that seeks balance within states of limbo, straddling reality and imagination. Lowe begins from assorted everyday images, combining anonymous online imagery and personal photos, she slices, dices, mixes, and mutates these sources until she arrives at scenes that expose the awkwardness of life in a human body—physically and emotionally.

Unconventional assemblages of color, these oil on linen compositions emerge from a palette that skips, jumps, and flicks you on the nose. In moments she leaves behind clues to specific scenes or possible narratives, yet the overall effect of the work requires viewers to relax their gaze, untether expectations and let the pictures untangle themselves through the flow of her expressive improvisational gestures.

In addition to painting, Lowe frequently works in performance and sculpture, as such, her paintings are events in their own right. Agile, emanating a sense of action, they record mental and physical movement of the artist’s own body; as they evolve, they take on a life of their own. Enigmatic and voyeuristic, the compositions strike at ordinary life and personal “events”—having sex, stretching, smoking a cigarette—Lowe articulates the contours of human experience, stringing up something recognizable while simultaneously slipping from our grasp.

Molly Lowe (b. 1983, Palo Alto, CA) received her MFA from Columbia University and her BFA from Rhode Island School of Design (RISD). She has had solo exhibitions and performances at the Hammer Museum, Los Angeles, CA; Lilith Performance Studio, Malmo, Sweden; Pioneer Works, Brooklyn, NY; Suzanne Geiss Company, New York, NY; SculptureCenter, Long Island City, New York; and Performa 13, New York, NY. Her films have screened at the Museum of Modern Art, New York, NY and JOAN, Los Angeles, CA. Lowe has participated in residencies at the Shandaken Project, Storm King Art Center, New Windsor, NY; Pioneer Works, Brooklyn, NY; Recess Art, New York, NY; and the Skowhegan School of Painting and Sculpture, Skowhegan, ME. In 2015, she received the New York Foundation for the Arts interdisciplinary artist fellowship award, and she was recently nominated for a Louis Comfort Tiffany Foundation award. Lowe lives and works in New York.

Anat Ebgi is pleased to announce Endnotes for Sunshine, a solo exhibition by Jessica Taylor Bellamy on view at 6150 Wilshire Blvd, January 21 – February 25, 2023. This is the artist’s first solo exhibition with the gallery. An opening reception will take place Saturday, January 21 from 5 – 8pm.

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.

Bellamy’s multi-layered imagery culls from personal archives of information including newspapers, photographs, and videos. The video-sculpture In view, if not in reach (2023), exemplifies her hybrid approach. Comprising a hand-painted animation of vanity plates layered over video footage of westward drives at sunset, the film loops on a license-plate sized monitor attached to a flaming motorcycle fender. Endnotes for Sunshine draws from the artist’s familial and relational experiences of the California landscape as a way to reimagine our relationship to the environment and examine the structures that strain it.

Engaging with the rich art history of Los Angeles, Bellamy’s work is informed by artists such as Ed Ruscha and Mark Bradford—through a love of place and conceptual process to art making. Although nature informs her somatic color palette, she also borrows imagery from The Los Angeles Times, understanding the newspaper as a chronicler of daily geopolitical and local stories, tragedies, human interest, weather, and trends in culture—a semiotic political thermometer that marks the passage of time.

For her paintings, Bellamy cuts, scrunches, slices, dissects, and rearranges the newsprint which is then rephotographed and converted into large-scale silkscreens. This labor-intensive process includes transferring the images to canvas with oil paint. Everything about Bellamy’s use of silkscreen is unconventional—including her intentional misregistrations. What results is an absurdist and found poetry superimposed over her softly rendered palms and sundrenched horizons.

Throughout the exhibition, considered mashups of words and images lead to provocative and humorous new meanings that point to the absurdity of our times and address a pervasive sense of reality upturned. In moments when the text is most abstracted, one’s mind wanders to the declining popularity of print media and how quickly the day’s news is discarded for secondary uses, for kindling, or washing windows, or the irony of wrapping a bouquet of fresh flowers in war reportage.

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 California in 2014. Her work has been featured in exhibitions with UTA Artist Space, Los Angeles, CA; WOAW Gallery Hong Kong and Make Room LA; 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.

 

Anat Ebgi is pleased to announce Call Me When You Start Wearing Red, a solo exhibition by Janet Werner on view at 6150 Wilshire Blvd, January 21 – February 25, 2023. An opening reception will take place Saturday, January 21 from 5 – 8pm.

Please join us Wednesday, February 8, at 7pm for an artist conversation at the gallery with Janet Werner, moderated by writer and curator Ashton Cooper.

Janet Werner is an artist known for painting psychological portraits of women. Call Me When You Start Wearing Red, the artist’s second exhibition with the gallery, examines ideas of being divided, dualities of human nature, and inner multiplicity. Werner externalizes these psychological splits within her ‘broken pictures.’ Side-stepping narrative, her subjects present more as ideas—vessels for viewers to pour themselves into. We relate to them through their disruptions—shrinking heads, contorting bodies, flipping figures upside-down, or partial obscuration.

For over two decades, Werner has explored the possibilities of her photographic source material—images of women culled both from fashion magazines and art historical references. Although her work and style continue to eschew naturalism, she has also grown ever-more ambivalent about her subjects-cum-performers, finding increasing satisfaction with her interruptions and “determined more than ever to break them apart and alter them in obvious and aggressive ways, a shift away from the idea of a unitary wholeness.”

Nonetheless the works possess a seductive openness, a vulnerability manifested through the figures’ gazes that allows viewers to project onto them. Werner’s paintings are not just the image, but the encounter, viewer and painting, the hypnotic power between them ignited by the artist’s mature, assured paint handling.

A thread of performativity runs through the works, not just because the models are performing for the camera, but actual references to magic occur in the work—levitation, dressing up, acrobatics, circuses, and clowns—not to mention the roles of femininity on display. As the artist, Werner too is a performer of sorts, and asserts that “if I do the paintings right, the viewer can ‘complete the trick.’”

Often soft and gestural, Werner gives the paintings an edge through color contrasts that are often derived from fashion sources. Garments, shoes, and accessories present prominent and highly delineated opportunities to be expressive and bold with color. Explorations of texture, folds, and shadows, introduce different rhythms of brushwork, broadening her lexicon of mark making in the compositions. Each new painting adds an opportunity for experiments with transparency, high chroma, and patterning ultimately contributing to the sense of mystery, play, and provocation in the overall exhibition. 

Janet Werner (b. 1959, Winnipeg, Manitoba) received her MFA from Yale University, after which she returned to Canada, where she taught at the University of Saskatchewan from 1987 to 1999 and Concordia University, Montréal, from 1999 to 2019. In 2019 Musée d’art contemporain de Montréal mounted a monographic exhibition Janet Werner. Previous to that from 2013-2015 a solo survey exhibition of her work Another Perfect Day, organized by the Kenderline Art Gallery, University of Saskatchewan, toured to five locations in Canada, including the Esker Foundation, Calgary; the McIntosh Gallery, Ontario; Galerie de l’UQAM, Montreal; and the Doris McCarthy Gallery, Toronto. 

Werner has exhibited her work in solo exhibitions at Anat Ebgi, Los Angeles, CA; Bradley Ertaskiran, Montréal, QC; Arsenal Contemporary, New York, NY; Galerie Julia Garnatz, Cologne, DE; and Whatiftheworld Gallery, Cape Town, ZA. Her works are in the collections of the Musée du Québec; Musée d’art contemporain, Montreal; The Art Gallery of Ontario (AGO), Toronto; Canadian Embassy in Berlin; University of Lethbridge, Alberta; Winnipeg Art Gallery, McEvoy Foundation for the Arts, San Francisco, CA; and numerous private and corporate collections. Werner lives and works in Montréal, Québec.

The recent publication Sticky Pictures, co-published by Griffin Art Projects and Figure 1 in collaboration with the Musée d’art contemporain de Montréal, surveys the last 7 years of Werner’s painting practice.

Anat Ebgi is pleased to announce AURORA, a solo exhibition by Caleb Hahne Quintana on view at 6150 Wilshire Blvd, November 5 – December 17, 2022. This is the artist’s first solo exhibition with the gallery in Los Angeles. An opening reception will take place Saturday, November 5 from 5 – 8pm.

The exhibition title refers to the largely suburban city neighboring Denver where Hahne Quintana grew up. Making home his subject, he approaches tenderly, showing a sense of care in capturing the personal and familiar. Across portraiture, landscape, and still life paintings, each work depicts someone or a specific place known personally to the artist. As he explains, “Everyone is from some place. I used to wish I was from somewhere else. This show is a homecoming of being grateful and proud of where I am from.” 

In addition to paintings, AURORA includes a selection of colored pencil, ink, and gouache drawings on paper presented together in one gallery. The artist whose process begins with drawing describes it as a “liberating act which precedes the more arduous act of painting.” Hahne Quintana also produced a soundscape for the exhibition featuring field recordings from specific locations such as parks or shopping centers. The audio component, like a movie score, adds a sensuous layer of texture to painted memories, transporting viewers to Aurora. Like his paintings, the artist elevates the mundane to the profound, the overlooked to the monumental through his reflections on place as an emotionally charged subject.

Scale operates as content in this exhibition. A suite of intimate snapshot-size works seem to express the desire to hold memories as if they are objects—portraits of friends, the artist, his cat, etc. A still life of a Columbine, the state flower, contrasts against a much larger work depicting a heroic young male, a 21st century cowboy, leaning on a forest green 2000s Jaguar; both are treated with wonderment, charged and innocuous. Those familiar with the pure tones of dawn and dusk in the high desert will recognize such sensitivity in the radiance of light in these works. Through his nostalgic exploration of place, Hahne Quintana proves that environments can encapsulate specific states of mind, and states of being through meditative, nuanced observation.

Special thanks to musician Rogelio Montes for his contributions as collaborator on the exhibition soundscape. (Listen Here)

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; albertz benda, Los Angeles, CA; Alexander Berggruen, New York, NY; 1969 Gallery, New York, NY; Carlye Packer, Palm Springs, CA; Kunstraum Potsdam, Germany; Anat Ebgi, Los Angeles, CA; 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.

Anat Ebgi is pleased to announce Time To Leave, a solo exhibition by New York based painter James Bartolacci on view at 6150 Wilshire Blvd, September 17 – October 22, 2022. This is the artist’s first solo exhibition with the gallery and in Los Angeles. An opening reception will take place Saturday, September 17 from 5 – 8pm.

Time To Leave consists of six oil paintings made by Bartolacci throughout this past summer. Known for their intensely colorful documentation of queer nightlife in New York City, this exhibition focuses largely on the atmospheric elements of nightclubs and afterparties. Many works zoom in on details around the DJ booth or abandoned drinks as well as their ongoing portrayals of glistening clubgoers on the dance floor. The paintings in this exhibition take on ‘light’ both as a material investigation as well as a conceptual one—considering temporality and the passage of time. 

Concentrating on expanding their painterly lexicon for this exhibition, Bartolacci explores new brush techniques in these works. Experimenting with silicone wedges and comb tools the resulting compositions emote a sonic energy. Scratching and scraping at the canvases releases hidden subtleties of their palette of technicolor greens, blues, and magentas, creating a sound wave or ripple effect. The subjects are cast in halos literally emanating light. Evocative of strobes, solid matter appears liquid in these paintings, destabilized, at the precipice of vanishing.

Bartolacci’s color sense and bold aesthetics go outside of what is considered ‘good taste.’ But this is part of the point, a decision meant to reject what is palatable, easy, or expected much like queerness itself. Through the works in this exhibition, Bartolacci seeks to elaborate on and offers a larger description of, what can be found in queer community and nightlife, and what might happen when it’s time to leave.

James Bartolacci (b. 1988, Easton, PA) received an MFA in painting and printmaking from the Yale School of Art and a BA in art history from Brandeis University. Their work has been exhibited in group and solo exhibitions at Galerie Perrotin, New York; Anat Ebgi, Los Angeles; and Taymour Grahne Projects in London. Their work has been reviewed in The New York Times, Frieze, and California Art Review among others. Bartolacci lives and works in Brooklyn, NY.

Anat Ebgi is pleased to announce Low Fidelity, a solo exhibition by An Te Liu on view at 6150 Wilshire Blvd, September 17 – October 22. Low Fidelity is the artist’s second solo exhibition with the gallery. An opening reception will take place Saturday, September 17, from 5 – 8 pm.

For Low Fidelity, the artist presents a collection of bronze, ceramic, and steel sculptures composed and cast from foam packaging materials, sports equipment, and other relics of the artist’s childhood. 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.

Several works in the exhibition draw upon early memories of the artist’s upbringing in Taiwan. Two suspended works, Sukuda and Mikado were cast from the body of a 1964 Vespa VBB — the same model of scooter the artist’s grandfather and parents rode. These crescent-shaped figures hover in the gallery like apparitions; artifacts of his childhood. Similarly, the rhizomatic Over Time derives its mysterious coral-like form from a deconstructed Nerf football — the first piece of sports equipment Liu recalls owning. In this way, the child’s plaything metamorphoses into a scholar’s stone.

These allusions to the excavation of personal history and altered casts of sports equipment and armor continue to echo throughout much of the exhibition. 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. These works serve as a means for the artist to explore progress, improvement, and provocations of what it might mean to achieve one’s peak physical form or “optimum condition” through time.

This connection is furthered in a related group of works Mola Mola, IO, and Omatic. These ceramic sculptures take their forms from heads of massage guns, designed to release tension and improve flexibility. Turned upside down, their gleaming forms assume the appearance of helmets; their enlargement amplifies Liu’s ruminations, transforming them into idols or something to venerate. In a comical turn, the artist has given a parenthetical title to this series, Verschlimmbesserung, a German noun describing an attempted improvement that only makes things worse, suggesting that despite earnest attempts to become fitter and better, this is perhaps a losing battle.

Within Low Fidelity, the new suite of sculptures become anachronistic actors upon a dramatic stage orchestrated by Liu. The reverberations of time and formal memory the works emit are distortions of originals yet reanimated through their transference. Whereas the concept of fidelity imparts a near moral sensibility, Liu ascribes value to loss. It is in the valley Liu creates between the original and its echo that his works garner their character; specters of someone, something, somewhere that once could be known.

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.

Anat Ebgi is pleased to announce Lunch at Sunset, a solo exhibition of new work by Korean American artist Justin Yoon on view at 6150 Wilshire Blvd, July 9 – August 20. This is the artist’s first solo exhibition in Los Angeles. An opening reception will take place Saturday, July 9 from 5 – 7pm.

 

Lunch at Sunset consists of six paintings made by Yoon during the first half of this year, following his debut with the gallery last summer in the group show It’s Much Louder Than Before, which explored various communities and aesthetics of queer nightlife.

 

Through ongoing episodic depictions of three queer, Asian heroes—‘Marge the Space Queen,’ ‘Blue Dream,’ and’ Fivepound’z,’ the Shih Tzu, Yoon’s neon idols satirize and invert staged depictions of heteronormativity in popular media. He is interested in exploring a queerness not tied to sex, rather the trio shares a platonic intimacy through his high camp capture of scenes from ordinary life. Whether they are viewing television, going out to dinner, or taking in the sunset, each painting suggests a cohesive, but never-ending narrative like a tv sitcom. There is a tongue-in-cheek irony to these characters and their ‘costuming,’ Blue Dream always appears oiled up in tiny briefs like a go-go dancer and Marge wears a gown regardless of the occasion.

 

Reappropriating 1950/70s Hollywood tropes from fashion to interiors, Yoon blends them with his own early childhood memories of American junk food, late-night movies on TV, and listening to jazz during long family drives. He transforms these memories into a world of nostalgia and over-the-top plastic glamor. Unified by their playful vaporwave palette, washes of pink and blue acrylic, gouaches, and glitter seduce us into Yoon’s world of solidarity and friendship.

 

Justin Yoon (b. 1991, Los Angeles, CA) received his BFA from Parsons School of Design, New York, NY. His work has been exhibited at Anat Ebgi, Los Angeles, CA; Shelter Gallery, New York, NY; Hannah Traore Gallery, New York, NY; and Taymour Grahne Projects, London, UK. Upcoming shows include a group show with Museum of Sex, New York, NY; and a solo exhibition with Mindy Solomon Gallery, Miami, FL. His work has been featured in publications including Math Magazine, Less Magazine, and Artsy. Yoon lives and works in Brooklyn, NY.

Anat Ebgi is pleased to announce Sunrise Doesn’t Last All Morning, a solo exhibition of new work by German artist Fabian Treiber on view at 6150 Wilshire Blvd, July 9 – August 20. This is the artist’s first solo exhibition in the United States. An opening reception will take place Saturday, July 9 from 5 – 7pm.

 

Treiber is an artist dedicated to questioning perceptions of reality through depictions of interior and exterior spaces. He makes decisions about the compositions formally, rather than narratively and in so doing produces the effect that is at once constructive and dissolving, as Treiber describes, the works “seem not quite right, but are just right.” The windows and doorways provide glimpses of landscapes and morning skies, while the staircases and halls expand the pictures, giving the cinematic suggestion of a camera panning across the room. This sense of movement and elongation is heightened in Treiber’s multi-panels paintings.

 

His works begin with untreated nettle canvas, a soft textile with a practically invisible woven structure. Proceeding slowly, he applies glazed surfaces of paint, then adding lines that overlap to arrive at shapes which form his interiors and finally the objects that “inhabit” them. This process takes place in countless thin layers and with a variety of brushes, airbrushes, and palette knives, sometimes resulting in very thickly painted sections. Treiber avoids making precise allusions to realistic perspective, instead his imagery shifts—at times flat, stretched out, or collapsed.

 

Playing with the gallery’s architecture, Treiber designed a wall to divide the gallery in half, leaving a narrow opening in the middle to temp visitors to peer through into the next room or cross the threshold. The unusual in-betweenness of this gap in the wall underscores speculative spacial situations depicted in his work, which together are fed by memory, improvisation, and questioning reality.

Fabian Treiber (b. 1986, Ludwigsburg, Germany) studied fine art at the Stuttgart State Academy of Art and Design. His work has 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. Upcoming exhibitions include a group exhibition at Kunstmuseum Singen and solo exhibitions at Ruttkowski;68 Gallery, Dusseldorf and Municipal Gallery of Ostfildern (DE). 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. Treiber lives and works in Stuttgart, Germany. 

Anat Ebgi is pleased to present the first Los Angeles solo exhibition of Melissa Brown, titled West Coast Paintings. The show will be on view at 6150 Wilshire Blvd, April 2 – May 7, 2022. An opening reception will take place Saturday, April 2 from 6-8 pm.

Mining personal experiences and daily life for metaphysical and symbolic content, Brown depicts scenes that could be lifted from anybody’s memories—a jacaranda tree reflected in a skyscraper or listening to the radio on a road trip. Anonymity is further expressed in these paintings when the figure or face appears; it is obscured, fractured, consumed by its surroundings, hiding the personality of the subject from the viewer—in a cool, detached, and powerfully atmospheric way.

Brown’s work has a diaristic directness that stems from her practice of making plein air oil studies while travelling, which she uses to record color, light, and compositional elements to use in her paintings. Familiar landscapes, interiors, and still lives are transformed into surreal tableaus that straddle multiple realities and perspectives. Her imagery comes together through a collage of techniques, including screen-printed digital photography, oil, and airbrush. The artist invites viewers to peer through the window of her world, simultaneously holding a mirror up to our own. Although place and landscape have always informed much of Brown’s practice, this is the first time she is focusing on California as a subject.

Melissa Brown (b. 1974) received her MFA in Painting from Yale University and a BFA in Printmaking from Rhode Island School of Design. In 2000 she completed the Skowhegan School of Painting program. Recent solo and two person exhibitions include NYNY2020, and Between States, Derek Eller Gallery, New York, NY; Melissa Brown and Jamie Bull at Dodd Gallery at University of Georgia, Athens, GA; Going AWOL, Biggins Gallery, Auburn University, Auburn, AL;Tennis Elbow, Journal Gallery, Brooklyn, NY; Past Present Future, Magenta Planes, New York, NY; Paper Fortune, CANADA, New York, NY; and Roberto Paradise, San Juan, Puerto Rico. She has participated in group exhibitions at Mass MOCA, Gavin Brown’s Enterprise, Klaus Von Nichtssagend, Musée International Des Arts Modestes, and Jeffery Deitch, Los Angeles. In 2012 she was awarded the Joan Mitchell Painter’s Grant and a residency at the Joan Mitchell Center in 2019. Her work is in the permanent collections at the Whitney Museum of Art and the New York City Department of Education. She is an associate professor in art at Lehman College, City University of New York and an organizing member of the artist-run gallery Essex Flowers. Brown lives and works in Brooklyn, NY.

Anat Ebgi is pleased to present a solo exhibition by Los Angeles artist Jay Stuckey titled One Sock at a Time. This will be the artist’s fourth solo exhibition with the gallery and will be on view at 6150 Wilshire Blvd, April 2 – May 7, 2022. An opening reception will take place Saturday, April 2 from 6-8 pm.

Stuckey knows his archetypes. The jester. The romantic. The outlaw. The superhero. The everyman. He uses these characters—captured in a distinct pop and comic style—to marry ideas and emotional states that operate within a dream-logic. His pictographic paintings convey both tenderness and amusement, satire and critique about daily life, human nature, and the inexplicable. With a slapstick zaniness and an eye on the ordinary, Stuckey’s paintings pilot a passage to the profound.

An artist unbound by distinctions between high and low, messy and contained, important and irrelevant, primal and civilized, his work expresses an emotional and complex psychology in which innocence, melancholy, suffering, and exuberance are inextricably mixed. Building up the initial surfaces of his paintings with collaged images clipped from newspapers, penciled shopping lists, and drawings mined from his daily dream diaries, Stuckey bestows each painting with its own mood and subconscious.

Through Stuckey’s paintings, an expansive world emerges capturing the rush of life and evoking a hot allegory for the madness of right now. His union of opposites—the humorous and sinister, the abstract and representational, drawing and painting—generate a tension that makes the hair on the back

of your neck stand up, but reminds you that we all put our socks on one at a time.

Jay Stuckey (b. 1968, Washington, D.C.), received his MFA from the School of the Art Institute, Chicago, and BFA from Brown University. He has exhibited his work internationally at Deutscher Kunstlerbund, Berlin; Institut Franco- American, Rennes; Anat Ebgi, Los Angeles; Anna Zorina Gallery, New York; Minnesota Street Project, San Francisco; Blank Projects, Cape Town; Goethe Institute, Johannesburg; Green Papaya Art Projects, Manila. His work is included in the public collections of the Museum of Contemporary Art, Los Angeles, CA and Collection Majudia, Montreal. Stuckey lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce Lost Hours, a solo exhibition by New York artist Mark Ryan Chariker on view at 6150 Wilshire Blvd, May 21 – June 25, 2022. This is the artist’s first exhibition in Los Angeles. An opening reception will take place Saturday, May 21 from 6 – 8pm.

Lost Hours consists of five oil on canvas paintings made by Chariker during the first half of this year. This new body of work depicts figures caught in moments of stillness and contemplation. Golden and radiant light in his work evokes a frozen-in-time quality, achieved through many applications of glazing and tonal shifts. Although highly intuitive, in the sense that the artist does not work from studies or preparatory drawings, one has the impression that everything in the works has fallen into a precise place from a supernatural reality.

Rife with detail, each section of these angular spaces is active, pulsing with little brush strokes, creating a visceral sense of emotional containment. In Ghost Mantis, this psychological claustrophobia is highlighted by the presence of closed terrariums and a figure sitting in the corner surrounded on all sides by elaborate furniture. Embellishments on clothing, labels on bottles, imaginary text on the spines of books, Chariker’s gothic settings are as mysterious as the characters within them. Through this layered approach, each vignette activates the imagination to conjure its own narratives.

Mark Ryan Chariker (b. 1984, Spartanburg, SC) received a BFA from the School of the Museum of Fine Arts at Tufts University in Boston, MA. His work has been included in numerous exhibitions, including Exhibition 15, PM/AM, London, UK; I have an idea!, 1969 Gallery, New York, NY; Platform, presented by David Zwirner Gallery, New York, NY; Red Root, Green Root, The Valley, Taos, NM; and Home Alone, ATM Gallery, New York, NY. Chariker has completed residencies at PM/AM Gallery in London, RAiR Foundation in Roswell, New Mexico, SÍM in Reykjavik, Iceland, and NES in Skagaströnd, Iceland. His paintings have been featured in Artforum International, Artnet News, and Art of Choice. Chariker is represented by 1969 Gallery in New York, NY and lives and works in Brooklyn, NY.

Anat Ebgi is pleased to announce Look Out, a solo exhibition of new work by Los Angeles artist Alec Egan on view at 6150 Wilshire Blvd, May 21 – June 25, 2022. This is the artist’s third solo exhibition with the gallery. An opening reception will take place Saturday, May 21 from 6 – 8pm.

This exhibition, Look Out and Egan’s concurrent solo presentation for Art Basel Hong Kong (May 26 -29), inversely titled Out Look, continue the artist’s sequence of exhibitions that depict a new portion of a singular imagined home. Drawn from his own memory and imagination, the fictitious interiors, and vast atmospheric landscapes speak to tropes of nostalgia, Americana, and the profundity of the mundane.

Egan’s large interiors, decorated with lavish floral patterns, repeatedly use typical domestic items such as furniture, books, and footwear as symbolic motifs that harken back to personal histories while conjuring hypothetical narratives about the absent residents. In the smaller works, object motifs reappear, such as the bowl of spaghetti in Bowl of pasta with flower poster, or the mirrored palms in Green room (waiting room), and underscore a reflective tone in the exhibition, adding emphasis to these symbolic gestures within the works.

The natural world is not confined to Egan’s landscapes of sun drenched skies and wave paintings, rather the lush wallpapers of peculiar buds, blooming bouquets, and fruit-patterned fabrics intricately come together as meditations on the domestic, natural beauty, and fragility of life. Rich with art-historical references ranging from Van Gogh to Hokusai, Egan’s sentimental dreamscapes are simultaneously faithful and inventive engagements with painterly tradition.

In the gallery viewing room will be a painting by LA artist Hopie Stockman, a friend of Egan’s, whose work explores shared themes through still life painting, patterns, and domestic space.

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 August, 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. Anat Ebgi will present a solo booth of work at Art Basel Hong Kong in the Discoveries sector May 26 – 29. Egan lives and works in Los Angeles, CA.

Anat Ebgi is pleased to present A Sun To Come, our third solo exhibition by Palestinian-American artist Jordan Nassar. The exhibition will be on view at 6150 Wilshire Blvd, February 12 – March 26, 2022. An opening reception will take place Saturday, February 12 from 4-6 pm.

In recent years, Nassar’s embroidery-focused practice has expanded to include furniture, metal, and glasswork drawing from techniques and materials used throughout the Arab world. Though materially varied, these bodies of work are unified by the artist’s depictions of imaginary Palestinian landscapes as well as his painterly approach to specific craft practices. Alongside Nassar’s vibrant embroideries, this exhibition debuts his new series of wall-mounted landscapes made from wood and hand-hammered brass, bedazzled with mother of pearl inlay.

The new inlay landscapes collectively titled ‘Third Family’ continue the artist’s interest of incorporating craftwork inspiration from the Levant and Palestine. A triangle, rectangle, pentagon, hexagon, and heptagon form a sequence, exploring ideas of geometry, seriality, reconfiguration, and decoration. The specificity of the woods, each one named in the materials, reads like a list of paint colors: Paradox Walnut, Spalted Big Leaf Maple, Purple Heart, Swiss Pear, Avocado, Jatoba, Padouk, Loquat, Olive. 

Fraught with emotional entanglement and personal longing for place and permanence, the artist considers these landscapes, “versions of Palestine as they exist in the mind of the diaspora, who have never been there and can never go there. They are the Palestine I heard stories about growing up, half-made of imagination; they are dreamlands and utopias that are colorful and fantastical—beautiful and romantic, but bittersweet.”

Meticulously fabricated by hand, with hundreds of thousands of individual stitches in each composition, the embroidered skies and atmospheric horizons in A Sun To Come seem especially remote, rural, and dreamlike. Together the pieces in the exhibition extend provocations of his work to the pan-Arab diaspora in general. By incorporating traditional forms with his unique interpretations, Nassar continues the ways in which these traditions have changed over time, bridging geographical, political, and historical expanses.

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 was included in the group exhibition Making Knowing: Craft in Art, at the Whitney Museum of American Art. His 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.

Anat Ebgi is pleased to announce Angel Food, an exhibition of paintings by Los Angeles artist Amanda Wall. On view at 6150 Wilshire Blvd, opening Saturday, December 11, 2021. This is Wall’s first solo exhibition with the gallery.

Amanda Wall’s sensuous paintings evoke the physicality and gestural spontaneity of Abstract Expressionism, while capturing color and light that feels distinct to Southern California. The self-taught artist frequently depicts exposed or prone subjects giving an air of intimacy and fetishistic quality to her paintings. Using a palette ranging from bright blues and pulsing pinks to deep blacks her paintings have an intuitive intensity that defies singular readings.

In Wall’s recent works, figuration and abstraction are not opposite parts, rather they are complementary elements, which produce a delicate uncertainty; forms, moods, and attitudes becoming something else—pointing to phenomena real or emotional. Energized through mystery and withholding, her repetitive themes and subjects include: cigarettes, glasses of water, cherries, and portraiture. The artist’s use of containment, distorted perspective, and concealment introduces a freshness which heightens the eroticism and psychological spaces she explores.

Wall’s paintings feel instantaneous, like polaroids or snapshots. In this way her works seem to comment on contemporary portraiture, image making, and our ever-expanding digital repository. As viewers, we are made to feel like voyeurs, observing isolated characters, without companions, for our own pleasure or gratification. Her portraits and still lifes are composed of conflicting layers and erected boundaries, subjects revealed through cups or bouquets of flowers, eyes and faces are obscured. These fragments coalesce into a unified whole, addressing sexuality, the body, image making, vision, and a kaleidoscopic range of human emotion.

Amanda Wall (b.1985, Hood River, OR) has shown her work in group and solo exhibitions internationally at galleries including, Anat Ebgi, Los Angeles; The Cabin, Los Angeles; Köning Galerie, Berlin; Almine Rech, New York and Brussels; Nino Mier, Los Angeles; and Gana Art, Seoul. Her work is in the public collection of the X Museum, Beijing. Wall lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce Sea Swallow, an exhibition of new work by Los Angeles artist Zoé Blue M.. On view at 6150 Wilshire Blvd, opening Saturday, December 11, 2021. This is Blue M.’s second solo exhibition with the gallery.

Blue M’s paintings address characterizations of Asian women in both western and eastern popular culture drawing upon a range of source materials from Anime, advertising, art history, and ukiyo-e, as well as personal memories and photographs. For this exhibition, Blue M. examined Jorōgumo, a supernatural entity of Japanese Yōkai folklore.

Possessing a cunning intelligence and a cold heart, Jorōmugo is a spider-like creature who lives near water and feeds on men. Skillful deceivers, they can shape-shift into beautiful, young women whose mission can often be perceived as to witness the downfall of a man. Though the story of Jorōgumo provided the spine of her thinking, the exhibition breaks apart this story. Blue M. elevates the central character by presenting an open narrative that incorporates moments of innocence alongside scenes of villainy. 

Atmospheric exterior paintings with dramatic skies and water are playful such as the siren-esque girls swimming in No Shipwreck Needed or the girl walking along the seashore in Playcate. These moods are contrasted by the psychological and contained interior compositions of Waiting for Tomorrow or Behind the Fall. Together these depictions, consider the complexities of emotional burdens, family history, adolescence, and depictions of East Asian women throughout time and their stereotyping as a way of making sense of her own multicultural identity.

Zoé Blue M. (b. 1994, Los Angeles) Blue M. received a BFA from Rhode Island School of Design and has attended residencies at Vermont Studio Center and Anderson Ranch, Texas. Her work has been exhibited in solo exhibitions at Anat Ebgi, Los Angeles, CA; Page NYC, New York; The Gallery @ El Centro; In Lieu, Los Angeles (2019) and group exhibitions include Another Scorcher, Martha’s Contemporary, Austin; Three Oh One, Memorial Hall Gallery, Rhode Island (all 2019). Blue M. lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce Apparition, an immersive exhibition by Los Angeles artist Greg Ito. On view at 6150 Wilshire Blvd, opening Saturday, October 2, 2021. This is Ito’s first solo exhibition with the gallery and follows up The Arrival of Spring, a solo presentation at Art Basel Hong Kong earlier this year.

In six new paintings Ito deep-dives into his expansive cinematic compositions. These works contemplate themes of new life, metamorphosis, and the ghosts we live with—personal history, generational trauma, and the invisible weight of being alive. Among Ito’s subjects are flaming hillsides of Southern California, sprawling city streets surveilled by helicopters, and smoky sunsets; this darker imagery is contrasted by blooming poppies, flittering ginkgo leaves, and butterflies.

In his largest painting to date, a five-paneled work titled Motion Picture, Ito depicts a dramatic and layered landscape framed by arched floor to ceiling windows and billowing burning curtains. Fundamentally a storyteller, the artist is driven by the momentum of narrative and repeating motifs—moons, suns, flames, keyholes, clocks, teapots, and horizons—that operate with a dreamlike logic that is playful with scale, superimposition, and silhouettes.

Prominent in a corner of the gallery is a large house with a pristine facade that visitors can enter. Once inside, it is revealed to be damaged and burned out. The house on fire is a recurring symbol for Ito and functions conceptually as a self portrait. It speaks not only to his grandparents’ experience as Japanese-Americans during World War II and their forced removal to internment camps, but also his own experience as a fourth-generation Angeleno with immigrant roots. For immigrant families, home is both where you are and elsewhere; it is a fleeting and fragile refuge from the outside world, where connection to the past is preserved and hopes for the future are nurtured. The idea of home also takes on a new profound meaning for Ito, who became a father earlier this year, speaking to his desire to build a secure and stable life for his new family.

Two sculptures in the exhibition underscore spiritual and mystic elements of Ito’s practice. Placed outside the house is a floating teapot fountain that appears to be infinitely pouring itself into a stone wishing well. Inside the house, a bowl of ramen with a pair of hashi suspended midair, spin clockwise infinitely on a table. Both works draw attention to metaphysical and oppositional forces—presence and absence. 

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.

Anat Ebgi is pleased to announce Wish You Were Here, a group exhibition featuring works by Hernan Bas, Alejandro Cardenas, Hulda Guzmán, Soumya Netrabile, and Caroline Walker. The exhibition will be on view July 24 – September 11, 2021 at the gallery’s 6150 Wilshire Blvd location.

Sending a postcard is a romantic gesture. The customary sign off, ‘wish you were here,’ is a conjuring, a way to share your joy with someone far away. Although they can also serve a commemorative and memorializing function—depicting iconic landmarks or exotic destinations. They are tokens of nostalgia, sentimentality, and longing for something absent. The artists in Wish You Were Here present views into the realm of the psyche, portals that meditate on the slipperiness of reality, and contemplative explorations of daily life, transcendence, and fantasy.

Hernan Bas’ works investigate self-reflection, desire, and obsessions that invite the viewer to recognize their own curiosities and oddities. His work frequently depicts adolescent male figures, such as in A gathering of minds (the agoraphobic), which depicts a solitary blonde boy stuck at home, surrounded by his only company—classical busts and flourishing potted plants. The highly expressive portraits balance emotional realism with dreamy romanticism.

The ethereal scenes depicted in Alejandro Cardenas’ paintings evoke a world in transition. Inspired by the post-modern architectural environment of his youth growing up in Miami, Cardenas builds a whole universe of possibility and narrative depth. In these works, statuesque androgynes pose in private soliloquy near ledges, windows, and cutouts that open up to infinite expanses of still turquoise waters.

In the paintings of Hulda Guzmán, humans, animals, and fantastic creatures alike, act out the giant drama of life. Across the canvases, her subjects dance, lounge, dream, and play in modernly furnished interiors and verdant landscapes. The artist blends reality with illusions of fantasy, drawing from both her imagination as well as her natural surroundings within the Dominican Republic.

Working intuitively, Soumya Netrabile channels her subconscious and mines memories from nature walks to create her paintings. In The Turning, an azure peacock struts through a vivid and atmospheric field of majestic color. A forest of green, amber, and peach, surrounds a bear facing off with a hiker, in The Encounter, each dwarfed by swirling flame-like brushstrokes. Netrabile dissolves real space into lyrical abstraction, uncovering poetic and spiritual connections to landscape.

Caroline Walker’s quiet, intimate portraits blur boundaries between public and private scenes. Working from her own photographic source material, the female subjects in her compositions are seen from a vantage point through windows or from behind fences. This voyeuristic approach emphasizes the distance between viewers and the anonymous women depicted resulting in rich emotional scenes with narrative tension.

Anat Ebgi is pleased to announce the opening of our new exhibition space at 6150 Wilshire Blvd. The new gallery will more than triple our exhibition footprint and will allow us to mount our most ambitious shows yet. It will be used as a second exhibition space in addition to the Culver City gallery.

The inaugural show Good Company: Pt. 1, is a two-part group exhibition co-organized by Anat Ebgi and Paul Schimmel and will be on view from December 5, 2020 through January 23, 2021.

The first part will feature works from 15 gallery artists, anchored by important historic pieces: Euronyme & Ophion (1977-78) a painting diptych by Faith Wilding potent with ideas of genesis, transformation, life cycles and personal mythologies, as well as two installation works by Tina Girouard Air Space Stage (1972) a vibrant canopy of silk fabrics suspended over Blue Hole (1971), four cuts of patterned linoleum arranged in a square, countering austere minimalist art with exuberant color and unorthodox new materials. 

Jen DeNike will present Another Circle, a single channel video production depicting a ballerina rotating in toe shoes in what appears to be an infinite pirouette, which debuted in 2010 at The Company gallery in Chinatown. New paintings from veterans of the gallery roster—elusive abstract depictions of non-inhabited places by Sigrid Sandström and Jay Stuckey’s intricate humorous compositions of everyday people in everyday action. And Elias Hansen will present Until I held it in my hands (2012), a sculpture that is part-chemist lab, part-druggie’s coffee table, and part-DJ booth.

Good Company also includes work from recent additions to the roster. Cosmo Whyte will show a sculpture of mussel-covered life vests that continues the artist’s reimagining of tumultuous passages of displaced and migrant people. Sarah Ann Weber will show a suite of four aqueous paintings—one for each season—teeming with Weber’s signature abstract flora and fauna. Greg Ito’s panoramic window painting As The Curtains Close (2020) reveals the artist’s narrative style with each window depicting the same landscape at different times of day.

Landscape painting continues in the watercolors of Neil Raitt, who will have a solo exhibition in this new gallery April 2021. The exhibition features a wide range of painting styles and conceptual conversations from the emotional and psychological figures in Janet Werner’s portraits, to the luminous and soft gradients of Alec Egan’s southern California skies, to the abstract experimentation of Samantha Thomas dissecting the canvas.

The installation is rounded out with a video and vinyl text poem by Jibade-Khalil Huffman, who uses visual language of exhibition didactic material to play with ideas about information and authority; and a teacup oil painting by Robert Russell who will open a solo exhibition of this new series at our La Cienega space in January 2021.

Paul Schimmel is an independent curator and art historian of contemporary art, formerly the Chief Curator for nine years at the Newport Harbor Art Museum (now the Orange County Museum of Art), Chief Curator for 22 years at the Museum of Contemporary Art (MOCA), Los Angeles, and Founding Partner of Hauser Wirth & Schimmel. Paul has organized and written the catalogue for the exhibition, Sigmar Polke Photoworks: When Pictures Vanish, and contributed to the catalogue of Bruce Nauman’s comprehensive MoMA retrospective in 1995. Most recently, he wrote for the Jean-Michel Basquiat exhibition at Fondation Louis Vuitton as well as Kazuo Shiraga exhibition at the Amagasaki City Culture Promotion Foundation.

 

After four months of being closed, Anat Ebgi is thrilled to announce the reopening of the gallery and AE2 to the public with a two-person exhibition, featuring Alejandro Cardenas and An Te Liu. This exhibition will take place at AE2 2680 S La Cienega Blvd from July 11 through September 5, 2020.

An Te Liu, a Toronto-based sculptor, will present a curated grouping of new sculptures alongside a suite of recent paintings by Los Angeles-based painter Alejandro Cardenas. These artists are linked through their search of form through the shared interrogation of design and architecture. In their respective practices, each borrows, transforms, and recontextualizes the built and designed world with a sense of humor and playfulness that translates into something simultaneously familiar and mythological.

In Cardenas’s newest “Field House” series, melancholic figures populate a modernist glass country house. One has the sense these figures are trapped inside, gazing longingly at blue skies, only to be enjoyed from a distance. In two works Clear Skies at the Field House 1 and 2, sublimating humanoids repose on Mies Van der Rohe chairs, as uncontested monuments to calm and effortless elegance at the time they were designed and now cult objects for connoisseurs. Cardenas’s work juxtaposes the iconic with the abstract and ineffable.

Liu’s work is frequently contextualized in terms of his borrowing forms from consumer objects and packing materials. However, he takes these sources beyond their utilitarian origins to a precarious unknown, imbuing them with a new lyrical narrative. In the case of Talismaic 2000, Liu cast the reflective interior casing of a headlight from his defunct 2000 Honda Civic. Then taking inspiration from Brancusi’s The Newborn—a sleek bronze ovoid—Liu modeled the backside of this piece after an egg. With Aspira, Liu dissected a handheld dustbuster, stretching and twisting it open, and finishing it with copper leafing. Though the vacuum retained its distinct snout, suspended from the ceiling it is graceful and bird-like, the final form resembling an ancient fossil.

Alejandro Cardenas (b. 1977, Santiago, Chile) completed his BFA at the Cooper Union School of Art in 2000. Cardenas has exhibited his work in solo and group exhibitions including at the Hammer Museum (2003), Anat Ebgi (2019), Harper’s Books (2019), and James Fuentes (2008 and 2010). Before becoming a full-time studio painter, Cardenas had a successful career as a multimedia artist, working in illustration, graphic design, and videography. For over a decade, he served as the lead textile designer and art director for the influential fashion label Proenza Schouler. He was also a founding member of Lansing-Dreiden, a New York-based transdisciplinary art collective that produced musical albums, a literary journal, and artworks. Reviews of his art and design projects have appeared in the New York Times, Vogue, and Another Magazine. Cardenas currently lives and works in Los Angeles.

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.