Throwback- NYC Art Shows- Bo Bartlett at Miles McEnery Gallery in March 2025

 Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters
Jul 032025
 

In March of 2025, two of Bo Bartlett‘s series, Summer and Home, were on view at Miles McEnery Gallery in New York. This work in particular, Saudade (with The Painter to the left and The Skippers on the right) has an unsettling quality- note the smoke in the distance.

From the gallery’s website-

This exhibition brings together works from two distinct but intimately connected series: his early “Home” paintings and the more recent “Summer” works. While deeply personal, these works invite viewers to reflect on universal themes—longing, nostalgia, and the sense of home—offering a moment of connection through shared human experience. Accompanying the exhibition is a fully illustrated digital publication featuring an essay by Patricia Junker.

As Patricia Junker writes, “Bartlett embraces what he calls his topophilia: More than a connection, it is love of place.” Take his work, Home, where “we feel the texture of a subject’s madras shorts, the elasticity of her red knit headband, the suppleness of her black leather ballet flats, cast aside, and the soothing feel of cool grass on her bare feet and its scratchiness on a boy’s knees and palms. We know that time of day when light can penetrate a white linen shirt just so, and we know the quiet that allows a tuckered-out child to lie listening, lost in thought, on the verge of dreamland, perhaps. We take stock and try to make sense of a strange scene—a house of dark windows, a searching youth who crawls to peer around a corner, a forthright young woman at the center, a still baby at the far right. It seems as real before us as life itself. It is at once familiar and curious, because, as Eudora Welty has aptly put it, ‘Life is strange. Art makes it more believably so.’”

 

Throwback- NYC Murals- Tomokazu Matsuyama

 Art, Art Shows by Location, Artists, Drawing, New York Art Shows, Nyack, Painting / Painters, Public Art
Jun 122025
 

This mural was created in 2019 by Tomokazu “Matzu” Matsuyama as a commission for The Houston Bowery Wall in NYC.

Matsuyama recently completed the painting Morning Sun Dance, inspired by Edward Hopper’s 1952 painting, Morning Sun. An exhibition of his paintings and works on paper centered around this new work opens at Edward Hopper House Museum in Nyack, New York, on Friday, 6/20/25.

From the museum about the exhibition-

The exhibition centers around Matsu’s new large-scale painting Morning Sun Dance. Of the work that inspired his painting, Matsu says, “While Hopper’s Morning Sun captures a moment of introspective stillness within the psychological landscape of mid-century urban life, his treatment of solitude, light, and constructed space continues to influence my own approach to thinking about isolation as well as my approach to painting.”

In Morning Sun, Hopper depicts a woman sitting on her bed in the sun, alone in an empty room, wearing a plain orange dress and a simple, contemplative expression. In Morning Sun Dance, Matsu paints a solitary woman with a similarly meditative demeanor. However, her environment is far more richly layered: the room is filled with personal artifacts—dogs, magazines, and a luxurious couch—reflecting contemporary material life. Notably, the presence of dogs, while suggesting companionship, also references historical depictions such as Toutou, le bien aimé by Rosa Bonheur (1885) and A Nurse and a Child in an Elegant Foyer by Jacob Ochtervelt (1663), in which dogs symbolized wealth and ownership. In Matsu’s work, these animals subtly underscore solitude rather than alleviate it—suggesting not connection, but the heightened self-awareness of being alone.

Her clothing fuses Western and Japanese motifs—a William Morris textile layered with traditional patterns—while a Sports Illustrated poster of Muhammad Ali nods to her alignment with diversity, strength, and modern identity. In contrast to Hopper’s figure, who gazes outward toward the cityscape, Matsu’s subject turns inward, facing her domestic space. This shift in gaze implies a broader narrative: solitude, once externalized and meditative, is now negotiated through personal space and cultural consumption.

The exhibition will also feature Matsu’s process drawings, which reveal how the artist engaged with Hopper’s use of light, figuration, and abstraction. Two additional smaller paintings by Matsu also reinterpret Hopper’s iconic figure in the orange dress—one from Hopper’s original perspective, and the other from an external vantage point, as if observing the figure from the outside.

“This exhibition offers a fascinating dialogue between two artists from different eras, both grappling with the complexities of modern life and the experience of solitude,” says Kathleen Motes Bennewitz, Executive Director of the Edward Hopper House Museum. “Matsu’s vibrant and layered response to Hopper’s work invites us to reconsider themes of isolation and introspection through a contemporary lens, highlighting the enduring relevance of Hopper’s vision while embracing new perspectives.”

Delaware Art Shows- Maurice Evans at Bridge Art Gallery

 Art, Art Shows by Location, Artists, Collage, Delaware, Mixed Media, Painting / Painters, Wilmington
May 282025
 

“Khola”, Mixed media, acrylic paint, fabric and collage on canvas

“Kanga Amricani”, Mixed media, acrylic paint, fabric and collage on canvas

The images above are from Fabric Secrets, Maurice Evans‘ solo exhibition of mixed media paintings, on view at Bridge Art Gallery in Wilmington until 5/31/25.

From the gallery-

Born in Smyrna, Tennessee, Maurice Evans discovered his artistic passion through music before transitioning to visual arts. After studying Fashion Illustration at the Art Institute of Atlanta, he pursued a career that blended bold colors, cultural narratives, and mixed media. In 1994, his independent career took off with a successful exhibition at the Black Arts Festival in Atlanta, leading to national and international recognition.

Evans’ work, often incorporating photography, painting, and sculpture, explores themes of music, culture, gender, and politics. His distinctive style has been showcased in numerous galleries, museums, and collections, including Hartsfield-Jackson International Airport and the Hammonds House Museum.

Residing in Atlanta, Evans continues to push artistic boundaries, living by the mantra, “Create art for art’s sake,” inspiring artists and audiences alike.

It’s also worth checking out his Instagram account where he posts videos of his process, as well as his most recent work.

Delaware Art Shows- Mia Fabrizio at The Delaware Contemporary

 Art, Art Shows by Location, Artists, Collage, Conceptual Art, Delaware, Furniture, Installation Art, Mixed Media, Photographers / Photography, Sculptors / Sculpture, Wilmington
May 222025
 

For Mia Fabrizio’s installation in the lobby of The Delaware Contemporary, Pull Up A Chair, she has created several sculptures that use domestic objects to explore a variety of social issues. It is part of the museum’s Winter/Spring three-part exhibition, Dinner Table.

From the museum-

Mia Fabrizio is an interdisciplinary artist creating mixed media portraits, freestanding sculptures and installations composed of building materials and domestic items. She carves away, mends, and cobbles together assemblages from a domestic landscape that is both nostalgic and full of pathos.

In these works, Fabrizio explores the power structures and cultural paradigms associated with, “having a seat at the table.” Fabrizio reveals how furniture conventions can grant power to the user. It is the “power to be seen, power to be heard, and power to contribute to the framing of a society” that Fabrizio aims to scrutinize. The chair sculptures become vessels for memories with details that reference labor, gender, and cultural constructs. Her multilayered constructions toggle between tearing apart and memorializing her personal experience. The assembly and material choices subvert the basic understood function of a “seat” and reveal illusions of functional space. She asserts that, “these seats are invitations in name only, token representations.”

Mama Liked the Roses links past to present by combining images and materials from Fabrizio family home with images collected from regions in Italy where her great grandparents had originated. The details within the piece reference labor, food, gender and religion.

And from the artist-

I am an interdisciplinary artist. Mixed media portraits, freestanding sculptures and installations are composed of building materials and domestic items. Multilayered concepts relating to identity and social constructs are presented through a variety of artistic mediums and processes. Consumed with hidden and exposed structure, my investigation of physical construction, cultural paradigms and their relationship, originates from the framework most familiar to me, the house in which I grew up. Contradictions within this space spark my desire to highlight the fluidity of perceived binaries, particularly those relating to feminine and masculine, public and private and modern and traditional.

Ascribing to the visual context of home as well as the ethos of homemade I paint, adhere, carve and chip away at plywood, drywall and paper. I vacillate between tearing apart and tenderly memorializing my personal experience, concurrently the work points outward to larger societal conversations around immigrant status, feminism, and queerness.

This exhibition closes 5/25/29.

Delaware Art Shows- “Take A Seat” at The Delaware Contemporary

 Art, Art Shows by Location, Artists, Ceramic Art, Conceptual Art, Delaware, Installation Art, Mixed Media, Painting / Painters, Sculptors / Sculpture, Wilmington
May 222025
 

Work by Adam Ledford

Painting by Sierra Montoya Barela

Painting by Sierra Montoya Barela

Installation by Debra Broz

Take A Seat, at The Delaware Contemporary, presents three artists whose work focuses on aspects of domestic life. The sculptures in Adam Ledford‘s installation, and Debra Broz’s porcelain creations both explore items found around the house and encourage viewers to take a longer look beyond the initial familiarity. Sierra Montoya Barela‘s still life paintings, with their bright colors and unique compositions, balance out the exhibition.

From the museum-

The dinner table recalls memories of cuisine, traditions, faces. Many of these memories are not clearly outlined but are rather assembled together through the periphery of our experiences. At the edge are small details such as decor or furniture, all of which complement the feeling and evoke emotion that registers our memories of the moments. The settings themselves often define the sensibility of the dinner table. Working within and beyond these domestic settings, Sierra Montoya Barela, Debra Broz, and Adam Ledford each contribute their distinct techniques to a larger place setting, inviting visitors to reminisce on tables past and present.

Sierra Montoya Barela is a painter of modern-day still life, capturing the spaces we exist in, but specifically the life that exists alongside us. Barela’s use of perspective composes a portal of access, one that feels like a peephole into the domestic items that capture our impression of a space. Each painting offers a scene that imbues surrealistic comfort. Plants that grow as we move around them, food that waits to be consumed, isolated hands or feet that are suggestively attached to a body. Barela’s spatial acuity combined with her use of color and pattern is multidimensional and lively, highlighting the surroundings that outline our lives.

Also questioning elements of space, Adam Ledford melds multiple mediums together to create installations that are dimensionally varied. The mixture of sparse line work directly applied on the wall with hand-crafted, two-dimensional ceramic vessels create a composite scene of domestic familiarity. Evocative of furniture found in our homes, the drawings support the elegant pots that rest on their implied surfaces. The nature of the entirely non-functional dioramas are deceivingly simple; their whimsical nature feeding into our sensibilities of space and depth, while subverting those perceptions into new spaces of disbelief.

Debra Broz also works within the composite. Broz alters found porcelain sculptures, seamlessly combining various pieces together to craft new creatures altogether. These small figurines are reminiscent of lovingly coveted trinkets that decorate our shelves and tables. Broz leans into our memories, appropriating the figurines’ normal representation and twisting them into something fantastical. As an actual conservator of porcelain goods, Broz’s technical skill leaves little room for error; enabling her audiences to jump into the sublime and become collectors of her newly constructed tchotchke.

This show is on view until 5/25/25.

 

Delaware Art Shows- Nicole Nikolich at The Delaware Contemporary

 Art, Art Shows by Location, Artists, Delaware, Fiber Arts, Installation Art, Mixed Media, Sculptors / Sculpture, Wilmington
May 212025
 

The Delaware Contemporary is currently showing several exhibitions that reflect on the theme of the dinner table. In one room Nicole Nikolich has created the installation Can I Please Eat In The Computer Room Tonight? which includes an old Macintosh desktop computer surrounded by her colorful textile pieces. The work evokes the nostalgia of a childhood spent eager to be on the computer, even in its then limited capabilities.

From the museum about the installation-

The dinner table is a place of routine and tradition, the daily ritual of which can consist of eating, sharing, and storytelling. However, the dining room is not always the location for eating a meal. Food can be served on the sofa in front of the TV or outside under the stars, and in Nicole Nikolich’s experience, these special occasions were spent in her computer room. Seeking solace as a young teen, there was an excitement in experiencing space and time alone. Nikolich reclaims this memory, reflecting on nostalgic moments through her textile practice.

Nikolich’s artistic interests varied until she taught herself how to crochet; a medium that combined her intrinsic interest in color and texture. Based in Philadelphia, she was jointly inspired by street art and the ever-increasing yarn bombing movement and so took her developing techniques to her surroundings. These early experimentations eventually led to larger projects and commissions; enabling opportunities to further explore the medium on an increased scale. Her bright colors, varied textures, and whimsical designs explode on different surfaces and in all types of environments.

Can I Please Eat In The Computer Room Tonight? is a site-specific installation in response to Nikolich’s sensorial memories, her retelling of these early moments of youth. Combining both two and three-dimensional textiles, Nikolich inserts her audience into a youthful memory that is both individually personal and collectively reflective. The space is transformed by Nikolich’s signature experimental style and bold color, constructing a portal into a textile explosion. In doing so, the installation offers audiences an opportunity to reimagine their adolescent abandon; those remembrances in which routine breaks and adventure begins.

And from Nikolich-

Can I Please Eat In The Computer Room Tonight? explores the positive and transformative view of tech from a preteens perspective growing up in the early aughts. This installation is a memorial to this fever dream of a time period where you could only access the internet in a specifically designated computer room, often decorated in brown hues and overstuffed with knickknacks and office supplies. This space, an escape to another part of your life, often felt like an oasis to explore who you were becoming for the first time without the microscope and confinements of adults and societal expectations. Swapping sandboxes for CD-ROM games and mixed tapes. Inside jokes with friends in chat rooms and staying up until way too late messaging your crush in your own secret language. Taking selfies on the front facing camera and looking at yourself in a slightly different way for the first time. Learning about yourself and the world all from the glow of a little square box in the middle of a little square room.

This exhibition will close on 5/25/25.

Flashback- NYC Art Shows- Matthew Stone at The Hole

 Art, Art Shows by Location, Artists, Conceptual Art, Digital Art, New York Art Shows, Painting / Painters
May 162025
 

“Radiating Kindness (Oil)”, 2023, Oil on linen

“Bold Glamour”, 2023, Digital print on linen

For AI Paintings, Matthew Stone‘s 2023 exhibition at The Hole’s Lower East Side location, he explored new ways of using the latest technology while expanding on techniques used in his previous digital creations.

Details from The Hole about this exhibition-

Two LED screens form the center of this show, displaying an unedited stream of novel AI outputs; a new painting every ten seconds. Corresponding in scale to the surrounding works on linen and functioning like smart canvases, these AI paintings transform endlessly and if you’re alone in the gallery, you will be the only person to ever see that version of the artwork.

Stone’s AI paintings—both the tangible on linen and the fleeting screenic pieces—are created through his training of a custom AI model on top of Stable Diffusion’s open source, deep learning, text-to-image model. By feeding it only his past artworks, Stone has created a self-reflexive new series of AI works that disintegrates the hegemony of the singular static masterpiece and problematizes the idea of ownership, or even what “the artwork” itself entails.

AI has become part of contemporary culture, used to solve real world problems and also create TikTok filters. It’s a tool and like a paintbrush it can be used skillfully or not. At the moment AI is throwing the art world into upheaval as artists explore its potential, galleries contend with its disruption of technique and presentation and collectors and museums feel the dissolution of authorship and ownership.

A second type of work makes its debut here, Radiating Kindness (Oil), a 3D printed, machine-assisted oil painting made in collaboration with ARTMATR labs in Red Hook, where MIT artists and engineers have come together to make innovative tools and tech. By leveraging AI, robotics, computer vision and painting scripts, their robot has created a traditional oil painting in three dimensions. You can see on the surface how the interplay between analog and digital mark making is eye-boggling.

The show also includes examples of Stone’s “traditional” technique, which is anything but: on the 13-foot wide linen painting, Irradiance, four nude figures dance over piles of strewn AI paintings. The figures in the foreground, reminiscent in choreography of Henri Matisse’s Dance (La Dance), 1910, are bodacious, athletic women, heavy and sexy like a Michelangelo marble while at the same time futuristic, weightless and splendid in impossible glass and metallic brush marks. Here Stone’s circular and sensitive approach is laid bare for the viewer, the references to art history, technology, culture, access and the pursuit for the intangible is almost overwhelming to grasp.

Stone’s approach points to the deeply interwoven nature of our offline and online lives today. He sees artists’ use of new technologies as necessary, with creatives deploying these tools in a manner that’s not motivated by big tech or financial gains, disrupting the algorithm by creating their own and exploring this new frontier without data-driven deliverables. Creating new context and room for human subjectivities and emotion in the shift from analog to digital that arguably has already occurred.

Below, in an interview for The Standard, he discusses using AI for this work further-

When working with AI, do you sometimes feel overwhelmed or do you always feel in control?

I have never felt fully in control while making art and I’ve always been back and forth between wanting to be and understanding the transformative and creative power of just letting go. The most exciting moments in my creative process have often been unexpected mistakes. Those happy mistakes have revealed something that can then be consciously amplified. Using AI creates lots of unexpected outcomes very fast. So as someone who likes accidents in this context of image making, it’s a good way to become accident-prone.

Do you consider AI as just another digital tool? Or does it feel more like a collaboration? In other words, do you sometimes feel AI might develop its own taste, point of view, conscience?

It’s a digital tool and I try to resist the urge to anthropomorphize it. But it’s difficult because it feels like such a paradigm shift and also sometimes like dreaming. I think that culturally speaking, we are moving in a direction that assigns these qualities of perceived sentience to AI even when more mundane actions are at play. It’s not clear to me how we will tell if AI has achieved general intelligence, but I think most people will assume it to be the case long before it actually happens, assuming that it does.

NYC Art Shows- Laura Owens at Matthew Marks Gallery

 Art, Art Shows by Location, Artists, Collage, Installation Art, Mixed Media, New York Art Shows, Painting / Painters, Sculptors / Sculpture, Video and Film
Apr 162025
 

The images above are of two sections of Laura Owens’s immersive multi-media exhibition on view in two of Matthew Marks locations. It’s a lot to take in with so many details in the layered paintings and throughout the various rooms.

Walking through a door to the brightly colored green of the second room gives the feeling of entering a magical secret world, an impression that continues throughout the galleries. Adding to this is a humorous video tucked away in a tiny space behind another door, and small panels that open from the walls revealing additional paintings.  In the other gallery location are more rooms, including one with boxes containing various items and handmade books. It’s an overwhelming but wonderful show best seen in person.

From the gallery-

Laura Owens began exhibiting her work in the mid-1990s and quickly became known for her innovative approach to painting. Her work synthesizes traditional methods with unconventional ones, including printmaking and digital manipulation, to create destabilizing illusions of depth, extending her paintings beyond the confines of the canvas into three-dimensional space. Her paintings are often self-referential and draw extensively from art history, decorative arts, and craft traditions, as well as mass media and personal anecdotes.

The exhibition demonstrates Owens’s both meticulous and experimental approach to artmaking. Each element is hand-made in the artist’s studio through labor-intensive processes pioneered by Owens. A single panel may have over one hundred fifty layers of hand-printed silkscreen, on top of which Owens then paints further. The exhibition also includes kinetic elements, moving pieces within the artworks that continually point to their spatial and temporal contexts. “Though Owens is a master of composition, and the dynamism of her works has much to do with her sophisticated resolution of the problems that occur within the picture plane, it is at the edges, relations to external aspects such as architecture, interior space, landscape, time, geography, subject matter, style, and discipline, that their restlessness is found,” Kirsty Bell has written. “There is always more room to be surprised.”

This exhibition closes 4/19/25.

NYC Art Shows- Lyne Lapointe at Jack Shainman Gallery

 Art, Art Shows by Location, Artists, Collage, Fiber Arts, Mixed Media, New York Art Shows, Painting / Painters, Printmaking, Sculptors / Sculpture
Apr 082025
 

“Hemisphere”, 2024, Wood, ink on paper, hemp, linen, glass beads and frame by the artist

“Corps Astral/ Astral Body”, 2024, Ink, gold leaf, and paper on wood in an artist frame

“In Vitro”, 2024, Ink on paper, hemp, linen, and blown glass eggs mounted on wood in an artist’s frame

“Okinawa”, 2024, Ink on paper, hemp, coral, and sand stars mounted on wood in an artist’s frame

Lyne Lapointe’s works for Becoming Animal, her exhibition of new work at Jack Shainman Gallery,  natural and hand made materials add dimension to works focused on the body and its connection to the natural world.

From the gallery-

Inspired by a passage in A Thousand Plateaus, written by French philosophers Gilles Deleuze and Félix Guattari, the exhibition title recalls the attitude they describe as being essential to the creative process: ‘becoming animal,’ or, an ability to inhabit different material and ontological perspectives. This phrase philosophically expresses a consistent quality in Lapointe’s work, namely her ability to ‘embody’ her materials—whether it be ink or glass beads, coral or abandoned beehives—by allowing them to retain their own specificity while also fully incorporating them into the pictorial spaces of her figures. Just as Lapointe’s materials contribute to the transformation of her figures, so too do they undergo their own metamorphosis as they are integrated into the compositions, a process that reflects the body’s capacity to adapt and change while still retaining continuity with the past.

Over the past four decades Lapointe has created poetic and materially complex works that consider the corporeal and psychological consequences of existing in a world of uncertainty. Her site-specific installations and architectural interventions created throughout the 1980s and 1990s, in partnership with critic and artist Martha Fleming, established many of these essential thematic concerns. At their core was the role that social spaces play in creating and modifying subjectivity, an experience Lapointe has continued to dissect and explore through other media, including the paintings on paper in this exhibition. Together, they demonstrate her consistent focus on the body and its relationship to external factors, whether they be socially constructed or naturally occurring.

Through research, careful sourcing and sustainable practices, Lapointe has expanded her process to include heterogeneous materials and found objects alike. In Beehives Apiarists (2024), the diptych’s beehives have been affixed to the figures while propolis—a resin-like substance produced by bees and typically used for medicinal purposes—has been used to cover the works entirely. In Mother of Pearl (2024), a large shell has been placed at the center of the figure while pearls punctuate the background. In Vitro (2024) brings together blown glass eggshells, hemp and recycled linens. Lapointe’s method of collecting these items, locating additional materials and preserving their respective histories is a process that metaphorically expresses her long-standing desire to use resources that not only describe our world, but that remind us of its innate worth and beauty and thus of our own as well.

By incorporating objects found in nature and the home, Lapointe creates moments that reimagine the body and place it in a point of transition. At times between genders, while at others void of identity altogether, her figures always question the viability of personal expression in our current socio-political context. Though typically characterized by vulnerability and fragility, they also and just as often embody a position of triumphant resistance to a world that seeks to restrict gender expression, categorize sexuality and stigmatize ‘otherness.’ When responding to a world of danger and hostility her figures can don protective armor, as in Black Billed Cuckoo / Magnolia Grandiflora (2023) and Okinawa (2024). In the series The Head and the Body (2024) Lapointe renders each figure in both deep black ink and shimmering gold leaf, suggesting an inner psychological world that the materials merely hint at. This is a world where resilience and radiance take form as proffered by the gold leaf, while tenacity, seen in the deep opacity and outward reaching gesture of the inked figure, takes root.

Though Lapointe’s practice has often centered femininity and womanhood in its many personal and social forms, in Becoming Animal she has gone one step further by creating figures that appear genderless, or which seem to exist outside of such rigid codification entirely. The found objects she uses to characterize these anonymous forms also signify their environmental context and invite viewers to consider the works through the lens of environmentalism. By encouraging each figure to occupy multiple ontological perspectives at once, Lapointe creates both a literal and conceptual connection to the construction of the works themselves. They straddle the line between painting, sculpture and collage, while finding ways to express the body in a fugue state through her singular craftsmanship and mastery of materials—or as Deleuze and Guattari write, they seek to ‘un-human the human.’

This exhibition closes 4/12/25.

NYC Art Shows- Nathalia Edenmont at Nancy Hoffman

 Art, Art Shows by Location, Artists, New York Art Shows, Photographers / Photography, Sculptors / Sculpture
Mar 202025
 

For Nathalia Edenmont‘s exhibition Out of Body at Nancy Hoffman Gallery, she explores the symbolism of the egg through photography and sculpture.

From the gallery-

While she is known for her portraits of women wearing dresses she composes of flowers or fruits and vegetables, as well as for her collages of butterfly wings that she magnifies into monumental photographic compositions, she was ready to take a leap into unknown territory inspired by her personal connection to the beguiling goose eggs.

In 2012 the artist acquired a collection of unfertilized goose eggs. When Edenmont was told she was infertile and incapable of bearing a child, she rediscovered these beautiful objects, and realized they were a metaphor for her life, and that she could transform them, turning them into evocative, mysterious sculptural forms she could photograph as subject and object. Mostly white against a stark black background, the eggs are also black, and turquoise and red, each having a character of its own. Her magnum opus sculpture, Out of a Fertile Summer Sun, is an egg within an egg, the larger egg cracked open to reveal a smaller one, bringing to mind images of the Madonna and child throughout art history.

Jean Wainwright writes about Edenmont’s eggs:

“Edenmont’s eggs are different, they are deeply imbued with her feminine experiences, of being a woman unable to bring to life a child and it is in the process of her ‘cracking’ that we unravel the significance of these haunting photographs. Having rediscovered her shells she stored, she set to work to find a new way of engaging with her own life force, bringing new life and creative energy to the empty shells. Now colour is drained from her photographs and the process of working with fragility and delicacy lies in the power of Edenmont’s hand. She moves her fingers and palm around the white goose egg shells in a circular motion as one might caress a womb carrying a child, but then she presses with her fingers and thumb in order to crack the shell exerting different pressures to create the different depths and (amounts of) cracks. Her working method is totally immersive, intense, and time-consuming using trial and error. Many of the experiments do not work; the formation of the cracks and the fault lines in the shells not aesthetically pleasing. Nonetheless, she persevered trying again and again – tapping and pressing the shells, retaining just a previous few to photograph and losing around two hundred egg shells in the process. Each haunting photograph of the egg shell seems suspended in an infinite black universe, a potent evocation of life and loss.”

Edenmont was born in Yalta, and moved to Sweden by the time she was 20, realizing that life in the Soviet Union was disintegrating and held no future for her. Sweden was a country to which she could easily get a visa, being alone in the world after the age of 14, when both her parents died and she had no other relatives. At 27, she was accepted to Forsberg Skola, to study graphic design, where an artist mentor encouraged her to visualize her inner pictures and try to capture them with the camera. It is thanks to Per Hüttner that Nathalia is the photo-based artist she is today.

All of her work derives from her life experience. She says: “I only look inside my head. What I see in my mind is what I create. I do not sketch; the image is complete and sharp within me. I have absolute control over all aspects of what I do.” She uses a large format Sinar camera with 8×10 film and many lenses.

This exhibition closes 3/22/25.

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