Nov 012024
 

Work by Jani Duerr (left) and Yarissa Luna (right)

Work by Jess Slavic (left) and Andy Vible (right)

Work by Andy Vible (left) and Seth Pala (right)

Work by Roderick Hidalgo II

Tonight is the closing reception for Awakening at Chris White Gallery in Wilmington, Delaware, curated by Seth Pala of Alone Time. The exhibition included 27 artists and 141 pieces of art.

Below is a list of the artists from the gallery’s website-

This event is part of Wilmington’s First Friday Art Loop, an event highlighting the city’s arts and cultural scene.

 

 

 

Oct 312024
 

Adrienne Elise Tarver

Cara Despain

Cara Despain

Ashanti Chaplin

Ray Anthony Barrett

Ray Anthony Barrett

Olivia “LIT LIV” Morgan

One room of the gallery with Margaret Griffith sculpture (center)

Jane Chang Mi

Andrae Green (paintings) and Phoebe Collings-James (sculpture)

Andrae Green

Margaret Griffith

Margaret Griffith (detail)

Against Dystopia, the group exhibition at Diane Rosenstein curated by niko w. okuro, presents a variety of interesting work that speaks to the times we are living in.

The exhibition includes ten international artists representing twelve cities across the United Kingdom, Jamaica, and all five regions of the United States-  Ray Anthony Barrett, Ashanti Chaplin, Phoebe Collings-James, Cara Despain, Andrae Green, Margaret Griffith, Jane Chang Mi, Olivia “LIT LIV” Morgan, Esteban Ramón Pérez, and Adrienne Elise Tarver.

From the gallery-

Presented on the eve of the 2024 presidential election, Against Dystopia is ‘a far-reaching exhibition, both in terms of the diverse backgrounds and approaches of its featured artists, and the social, cultural, and geographic ecosystems those artists represent and critique,’ writes okoro, who is based in New Haven, CT. The exhibition ‘features artworks that inhabit a spectrum of anti-dystopian thought, from mobilizing conceptualism to overcome historic traumas and the precarity of the present, to envisioning future utopias against seemingly insurmountable odds.’

Against Dystopia transforms fear and anxiety surrounding the uncertainty of our shared future into a tangible site of hope—one where collective memory reminds us of our agency to enact change today, and rich cultural traditions empower us to imagine alternative futures. Of significance is the inclusion of artists who identify as multi hyphenates, playing numerous social roles within their communities, such as advocate, change agent, chef, documentarian, educator, father, filmmaker, mother, musician, oceanographer, researcher, and too many more to name.

Artworks are grouped into three thematic sections, each of which explores creative strategies of resistance and works against dystopia at all costs: field research, symbolic interactionism, and speculative fiction.

Ray Anthony Barrett (Missouri), Ashanti Chaplin (Oklahoma), Cara Despain (Utah/Florida), and Jane Chang Mi (Hawai‘i/California) use field research to map histories of frontierism, settler colonialism, and land politics onto ecological and socioeconomic systems today. With a focus on listening to the land and sea to both unearth and atone for difficult truths, these artists name and dismantle dystopian practices on the path to reconciliation. Embracing an appreciation for both hyperlocal traditions and the tenets of global citizenship, each underscores our shared duty to ensuring ecocultural sustainability and Earth’s habitability for future generations.

While Margaret Griffith (California), Olivia Morgan (New York), and Adrienne Elise Tarver (New York) work through markedly different mediums and styles, they share a fearlessness in addressing ongoing tensions and questions surfaced amidst the political firestorm of 2020. Embracing tenets of symbolic interactionism, or the theory that individuals shape and are shaped by society through daily interactions and the co-creation of meaning from symbols, these artists remind us of the power of human connection to bridge difference. Each steers towards social cohesion by processing collective grief and the enduring impacts of the 2020 presidential election, the proliferation of the COVID-19 pandemic, and the resurgence of the Black Lives Matter Movement respectively. Whereas Morgan and Griffith subvert symbols that often polarize rather than unite us within physical space—such as fences, face masks, and smartphones—Tarver reaches into the past to pull forth reimagined symbols that speak to our spiritual interdependence.

Phoebe Colling-James (United Kingdom), Andrae Green (Massachusetts/Jamaica) and Esteban Ramón Pérez (California) boldly envision alternative realities by using speculative fiction and symbolic allegory to sew threads of connection across time and space. Each resists linearity and subverts narrative tropes to instead materialize the fluid spiritual dimensions of lived experience. Through their layered ceramics, paintings, and sculptures, these artists mine the depths of their respective Jamaican/British, Jamaican/American, and Chicanx heritages to comment more broadly on social conditions today, prompting us to dream beyond what’s readily visible or knowable.

Against Dystopia opens concurrently with The Getty’s Pacific Standard Time: Art x Science x LA, which similarly explores, “opportunities for civic dialogue around some of the most urgent problems of our time by exploring past and present connections between art and science.” By convening an international group of visionary artists to help initiate these dialogues, Against Dystopia prompts viewers to pursue deeper understanding of shared challenges and solutions, on both the micro and macro levels.’

This exhibition closes 11/2/24.

 

 

Oct 302024
 

Brian Rochefort’s ceramic sculptures for Staring at the Moon at Sean Kelly gallery are an incredible mix of textures and colors. Based on his travels to several natural environments around the world, the work combines the familiar with the unusual to form fascinating results.

From the gallery-

Brian Rochefort’s mixed-media sculptures incorporate a variety of different textures, surfaces and colors to create rich, otherworldly forms. Referencing his travels to some of the most remote parts of the planet, such as the Amazon Rainforest, the Galápagos Islands, and the Ngorongoro Crater, in Tanzania, he internalizes and translates his experiences in these secluded, ancient landscapes into potent sculptural forms.

Rochefort’s sculptures are built up in a unique process of layering, wherein the initial form undergoes multiple firings. Between each firing, he airbrushes the works and applies glazes, many of which he has developed himself through extensive experimentation. This process pushes the technical limits of ceramics in pursuit of evocative, otherworldly new forms. As he states, “Some of the most successful pieces that I’ve done in the past have been works that I’ve built up too fast… but somehow I’ve managed to save the form, and it turns into a different monster.” He works intuitively to build a composition, not unlike an abstract painter, and cites artists such as Albert Oehlen, Joan Mitchell, Franz West, and even photographer Aaron Siskind as influences for their daring deployment of color and texture. His virtuosic control of his medium is tempered by the element of chance inherent to the process of firing the sculpture. In this way, the completed works are the result of a dynamic interplay between his highly developed technique, the distinctive character of each sculpture, and ultimately chance.

Rochefort is equally inspired by his travels to remote and untouched ecosystems, such as barrier reefs and rainforests. A vital form of inspiration for him, the rare and vibrant natural forms found in such locations are apparent in the works. His intent, however, is not to directly represent the landscapes that he visits, a task he describes as “nearly impossible to do.” The sculptures take on the formal qualities of the landscapes through an almost volcanic layering of form upon form, color upon color, and texture upon texture, ultimately blooming into vivid, texturally sumptuous works. His larger freestanding works, which he refers to as Craters, evoke the fundamental quality of his sculptures: a powerful moment of contact with something deeply elemental and otherworldly.

The gallery also posted the video below where he discusses the work.

This exhibition closes 11/2/24.

Oct 292024
 

“Earth Lament”, 2023, Pigment and pencil on Aquacryl on canvas and aluminium

“Earth Lament”, 2023,Pigment and pencil on Aquacryl on canvas and aluminium (detail)

“So Far So Near”, 2024, Pigment and pencil on Aquacryl on canvas and aluminium

“So Far So Near”, 2024, Pigment and pencil on Aquacryl on canvas and aluminium (detail)

“Cicada”, 2023, Pigment and pencil on Aquacryl on canvas and aluminium

Currently at Lisson Gallery is Shirazeh Houshiary: The Sound of One Hand, an exhibition of the artist’s new and recent work. For the paintings she combined distinct color formations with intricate patterns drawn on the surface using pencil. The details are astounding when seen up close.

From the press release-

For her first solo show in Los Angeles for over a decade, the British artist Shirazeh Houshiary presents new and recent works, exploring the origins of life and the mysteries of the cosmos, from a microscopic cellular level, to the stratospheric phenomenon of the aurora borealis. The show’s title relates to a Zen Buddhist teaching that instructs the student to listen to the sound of one hand clapping, in order to open their mind to such a possibility and transcend the constraints of the physical body. Despite not being a Zen practitioner, Houshiary realised that her work revolves around the insistent sound made by one of her hands, making tiny, looping, scratched marks in pencil onto large aluminum surfaces, building up worlds through the silence of her inscribed words.

Houshiary’s abstract paintings emerge from an initial pour of liquid color that floods the surface in irregular pools, before she then covers these areas with her own calligraphic gestures in graphite, which are in fact tiny repetitions of the Arabic phrases: “I am” and “I am not”, which she also likens to the natural act of inhaling and exhaling. For one of the two largest works in the show, entitled Enchanter (2024), Houshiary applies red pigment and pencil to a black ground in five ring shapes, recalling structures of carbon particles linked in a chain. Matching this in scale but cooler in tone, is the painting Earth Lament (2023), with two silhouetted blue figures that somehow materialized from the sedimented pigment, one appearing to soar and the other seemingly being dragged down. This accidental figuration also occurs in the work Cicada (2023), which could just as easily be a depiction of the wings of this insect as it could be a representation of its rhythmic song. At the other end of the scale are the galactic indigo swirls of So Far So Near (2024) and the bands of ethereal light crisscrossing the work titled Aurora (2023), recalling those seen occasionally streaking across a night sky.

Occupying the floor is a sculptural installation in nine parts, made from an open latticework of aluminum bricks in blue and green hues, each with the same footprint, but all at different heights, growing at increments of one layer at a time (the shortest has five layers, the highest thirteen). Entitled Maelstrom (2022), these curved forms, both hard and supple at the same time, recall not only the molecular structures of the red painting Enchanter, or “that primeval storm within the spiral of creation where something grows,” as the artist puts it, but also the shape of the ouroboros snake eating its own tail.

A second sculpture, seemingly another form defying logic and gravity, bursts from the wall. Its two sinuous, entangled lines are the artist’s approximation of the movement of a solitary wave – lending it the name Soliton (2024) – which is a type of swelling or surging motion that is not dependent on previous pulses, or followed by other waves. From such unfathomable objects, to minute molecules and gigantic expanses of space, Houshiary’s artworks represent a journey through everything from the chaos and messiness of the Big Bang to the silent contemplation of the resulting energies that surround every one of us.

This exhibition closes 11/2/24.

Oct 232024
 

Aliza Nisenbaum’s paintings for Altanera, Preciosa y Orgullosa, her current exhibition at Regen Projects, fill the gallery with colorful portraits depicting dancers from dance troupes and studios local to Southern California- including Teresita de Jesús of Studio 10, Folklorico Revolución, Mariachi Tierra Mia, and Amelia Muñoz Dancers.

From the press release-

An early, leading figure in the centrality of representation and portraiture in the preceding decade, Nisenbaum develops vibrant, figurative paintings through a form of participatory observation. She forges relationships with her subjects and connects meaningfully to the complex communities they create together. Informed by a diverse array of artistic and political traditions, Nisenbaum’s pictures (and the process through which they are made) recall forebears such as Alice Neel, Sylvia Sleigh, and Diego Rivera.

From mariachi to salsa, the works give painterly shape to the fleeting festivity of these traditions. Exploring connections between sight and sound, they evoke music and movement in an otherwise static, silent medium by way of color, contour, and pattern. As such, they recall modernist experiments and visionaries such as Sonia Delaunay and Florine Stettheimer. Mindful of the ever-intensifying specter of technology that shapes our daily lives and recalling sociologist Émile Durkheim’s theory of “collective effervescence,” Nisenbaum’s paintings celebrate these spaces and occasions for dancing as consecrated moments apart from our screens and devices, reminding us of the pleasure of being more fully of and with our bodies and each other.

The exhibition’s title, Altanera, Preciosa y Orgullosa, draws from “La Bikina,” an iconic Mexican ballad, and describes the song’s namesake subject, a “haughty, gorgeous and proud” woman. As such, it alludes to the sounds and sentiments that might accompany the dancers and musicians pictured throughout Nisenbaum’s paintings, as well as her overarching interest in depictions of female power, independence, and self-assuredness. These themes recur in La Bruja, a painting of dancers learning to carry lit candles safely atop their heads as they dance to lyrics that describe a witch, or “bruja,” at work in the middle of the night. For Nisenbaum, La Bruja, like “La Bikina,” evokes a powerful mythology of strong women, informed by their own agency and control as they move through the world.

Poised and focused, Shine Arm Styling, on 1, introduces us to a duo especially attentive to the most decisive details. Likewise, Nisenbaum’s paintings orchestrate a carefully calibrated concert of humming patterns and colors, from the rhyming latticework of tights to the gauzy curtains that drape and cocoon the rooms, the lacey fretwork of leotards and costumes, and the pronounced grain of the wooden floors. Animating and unbridled patterning recurs across the canvases, a painterly translation of the energy of the dancers and the spirit of their music. Just as the women tap more and more frenetically in La Bruja—building and accelerating—the pattern that frames them expands through and beyond the figures, likening the sonic experience to this visual effect, as well as the pace of paint handling that produces it.

Similarly, as dancers slide and screech to a halt, the undulating motion of the wooden floors mirrors the movement of the figures via painterly gesture. Rehearsal mirrors and elevated bars occasion playful angles, geometries, and juxtapositions, expanding and suturing spaces and passages. They punctuate, frame, divide, and at times provocatively double or even triple figures and forms, creating and implying pictures within pictures. Such reflections liken Nisenbaum’s activity as a painter to that of the whirling dancers. Her complex tableaux reveal her deep awareness and clear delight in the possibilities of painting to narrate human experience and the relationships that sustain us.

This exhibition closes 10/26/24.

Oct 182024
 

Currently at VSF LA are Sarah Ippolito’s new colorful sculptures inspired by aquatic creatures for her exhibition Liquid Realm.

From the gallery-

The ocean is what makes the earth habitable, without the ocean life is not possible, “in a way we’re all sea creatures” – Sylvia Earle

Los Angeles-based Ippolito’s exuberantly biomorphic sculptures are inspired by time spent underwater, immersed in contemplation of the umwelt of aquatic creatures and the central role of the oceans in the health and wellbeing of people and our planet. Divided between the &Milk project space and the VSF courtyard, Ippolito’s exhibition considers the differing sensory environments and inhabitants of the sunlit shallows and the expansive open ocean. While the ocean covers more than 70% of the planet’s surface and contains roughly 97% of Earth’s biosphere, life underwater and the nature of the ocean often feels alien. Ippolito’s works bring some of this vibrancy and abundance onto dry land.

Color and texture are central to Ippolito’s work – her sculptures are recognizable not only for their uncanny and whimsical shapes, but for her use of bright color, evocative texture, and shifts in scale. For Ippolito, color expresses exuberance, optimism, and vitality. Intricate and tactile textured surfaces are dynamic and invite curiosity and engagement. Scale is used as a way to disrupt expected hierarchies, the viewer may feel they have been shrunk or the forms they look at magnified; each scale relationship impacts the experience of her body in space and in relationship to others. Scale is also a key in our relationship to the ocean – In its vastness, the ocean feels as unknowable as outer space and yet, somehow, it is also as familiar as our own backyards. The lively nature of Ippolito’s work is underscored by the use of active verbs in the titles for all of her new works: Filtering, Undulating, and Fanning their names describe the range of movement implied by their forms.

In the courtyard, Ippolito presents her first cast bronze sculpture. Standing at just about the same height as the artist, the form blends shapes and textures from a Salp spiral (phylum Chordata) and the tentacles of Portuguese man o’ war (phylum Cnidaria.) Both “creatures” are colonies of individual organisms. The bold cobalt-blue figure stands erect, its tentacles meandering and sensing its surroundings. Nearby an installation of hand-formed ceramic shapes represents a bloom of Phytoplankton – tiny single celled organisms that drift in the upper layer of the ocean using photosynthesis to transform carbon dioxide into oxygen. The word “plankton” comes from the Greek word for “drifter” or “wanderer.” It’s estimated that roughly 50% of the oxygen on Earth is produced by oceanic phytoplankton. Phytoplankton are the primary producers of the ocean – offering food for a range of organisms from small filter feeders like salps to massive whale sharks. Phytoplankton also play a crucial role in regulating the atmosphere in the biological carbon pump – absorbing carbon dioxide at the surface and as they die they sink to the bottom (marine snow) and sequester carbon in the deep ocean. The forms in this piece are inspired by the most abundant types of phytoplankton – the diatoms, dinoflagellates, green algae, cyanobacteria, and coccolithophores.

In &Milk a group of table-top scaled works and a large figural work inspired by a range of creatures from the phylum Cnidaria (sea anemones, jellyfish, coral, sea fans) and phylum Annelida (feather duster and tube worms) are on view. These are some of the earliest life forms to evolve on the planet after phytoplankton transformed the atmosphere of the Earth to one hospitable for animal life – appearing between about 635 million and 515 million years ago, they have survived 5 mass extinctions. Abounding with color, these animals are sometimes naturally pigmented or get their distinctive coloration from symbiotic algae that live in their tissues. They possess a unique form of intelligence; operating without a brain and sometimes with rudimentary eyes. With their flexible tentacles that are sensitive to the slightest touch and vibrations they reach into the open water to filter feed plankton or capture small prey.

By reimagining marine organisms and their adaptations, Ippolito invites viewers to explore the hidden wonders of our oceans and consider the interconnectedness of all life. Her creative practice, rooted in direct observation and scientific exploration, embodies the potential of art to spark environmental reflection. In a world where the health of our oceans is increasingly vital, Ippolito’s work reminds us of our deep connection to the vast liquid realm that defines our planet.

This exhibition closes 10/19/24.

Oct 172024
 

“Seventh Lagoon”, 1979

VSF gallery is currently showing The Harrisons’ Survival Piece #1: Air, Earth, Water, Interface: Annual Hog Pasture Mix, 1970-1971, part of The Getty’s Pacific Standard Time: Art & Science Collide.

On Thursday, 10/17, a local pig will enter the grow box to turn over the pasture in an iteration of the 2012 performance that took place at The Geffen Contemporary at MoCA.

From the gallery-

The first in their visionary series of Survival Pieces, “Hog Pasture,” as it is known by Harrison’s fans, emerged from a direct dialog with the most visionary and boundary pushing artists of the late 1960’s and early 1970’s. The impact of the Earth Day movement and the nascent cultural awareness that human beings were rapidly depleting the planet’s natural resources ignited a deep and sincere conversation within the art world about the stakes of art-making in the post-war, post-1968 world.

While later survival pieces highlighted a culminating harvest feast, Survival Piece #1 is focused on growth. The rectangular form of the raised planter bed and the grid of grow lights above echo sculptural innovations by artists like Dan Flavin, Donald Judd, and Richard Morris;  however, Newton Harrison had by this time decided that a sculpture or a painting was not enough. His artwork needed to not only have a moral purpose, it needed to strive to restore the earth and protect the abundant future of humans on our planet.

In 1971, shortly after their first foray into ecological art, Making Earth (which VSF exhibited earlier this year at Frieze LA and is now in the collection of the Los Angeles County Museum of Art) Newton and Helen heard from David Antin that Virginia Gunter at the MFA Boston was curating a show titled Earth, Air, Fire, and Water: Elements of Art and wanted to include their work alongside contemporaries including Robert Smithson, Michael Heizer, Hans Haacke, and others. Exploring ideas of growth and change, Gunter’s vision for the exhibition was meant to challenge conservative, formalist, Greenbergian ideas about art as well as expectations of the museum as an institution that primarily collected unchanging pictures and objects that somehow articulated the best ideas and techniques of the time in which they were made.

Interested in building on his use of artificial lights, Newton decided that he should actually grow something. He commissioned one of his painting students to look through seed catalogs to find a mixture that was “totally singular,” eventually landing on R.H. Shumway Seedsman’s Annual Hog Pasture Mix. In Boston, a large raised planter bed was built in a basement gallery of the museum, agricultural grow lights were installed in a parallel grid from the ceiling, a potent mix of manure, compost, worm castings, and other rich grow media were added to the planter bed, the seed mix was added, and a small pasture grew there with alarming speed. While Gunter wouldn’t allow a hog to come and graze the original hog pasture, subsequent exhibitions of the work, including Ends of the Earth: Land Art to 1974 curated by Miwon Kwon and Phillip Kaiser at MoCA in 2012, have brought the work to its natural conclusion and invited a pig in to enjoy the rich, velvety mix of legumes and grasses. Similarly, VSF has invited a hog to harvest the indoor meadow during the exhibition’s closing ceremony on October 17, 2024. The remaining pasture, earthworms, and soil mix will be gifted to visitors.

Oct 162024
 

Lita Albuquerque’s exhibition of new work for Earth Skin, on view at Michael Kohn Gallery, includes several dramatic blue paintings and a huge installation piece on the floor of the gallery that grabs your attention the moment you enter the gallery.

From the gallery-

Beginning her career in the 1970s with works that intimately connected her to the earth, Albuquerque’s artistic evolution envelops the cosmos and the space between it and us. Her work emanates from years of practicing the exact science of Kundalini breath technique as well as automatic writing; both drive a deep investigation and scientific inquiry of who we are as individual beings on this planet. Albuquerque further connects to the exactness of physics by a meditation she, and astronomers, call the cosmic address. These daily practices are at the root of her art, precisely positioning self to cosmos. It is those discoveries she embeds in works of art that permit us, the viewer, to experience the connections she has made between these internal and external worlds.

Thinking about the exhibition, Albuquerque writes:
Feet dancing above the earth, dancing with fervor, drumming, the increasing drumming of the feet not fragile on the fragile earth.

The wisps of bodies, like skins falling off their frames leaving the planet, the planet strong and our forms ethereal, the strength of us, our feet, on the fragile earth, the wispy lightness of us, detached from the earth, transforming into space.

The earth strong behind us, propelling us upward, giving us her strength, throwing us in the air, while we fly, never falling, the fierce intensity of our rhythm while alive, and the freedom of release from the earth.

Experiments of intensities of emotions and colors, whirling dervishes’ cyclones, Earth Skin is whispered, “Earth Skin” she whispered.

For PST’s Art and Science Collide, Albuquerque transforms the gallery with a titular installation, Earth Skin. A membrane of decomposed granite fills the space creating the illusory sensation of the earth being revealed below the gallery, as if the concrete floor has been meticulously removed. Accompanying this installation is a new series of paintings revolving around the gestures of the body and ancient marks, like a hieroglyphic code only the artist has a key for. With each gesture, Albuquerque embraces the tactile intimacy of painting, reminding us of the power of capturing and transforming the elusive into the material. This installation invites viewers to explore the shared fragility of humanity and earth.

Two of the paintings, picutred below, include poems referencing fellow artist Ana Mendieta, who was known in part for her “earth-body” work and who passed away tragically in 1985.

“Propelling Us Upwards, She, The Earth, Throwing Us In The Air While We Fly, Never Falling, A Poem for A.M.”, 2024, Pigment on Canvas

“Desire and Memory, A Poem for A.M.”, 2024, Pigment on canvas

This exhibition is part of The Getty’s Pacific Standard Time: Art and Science Collide an arts event taking place in various venues around Southern California.

For more information on Lita Albuquerque and her work Red Canary Magazine recently published an excellent article that is worth a read as well.

Oct 102024
 

The ceramic sculptures above are from Becky Tucker’s Umbra, currently on view at Steve Turner in Los Angeles. The Glasgow-based artist’s work is inspired by “the history of Britain’s lost villages”.

From the gallery-

Tucker relishes working with fired ceramic, the very material that survives for thousands of years. She uses white stoneware that is glazed several times as well as faux suede dyed with indigo to assemble the pieces of her larger works. The idea of lost artifacts is at the root of her practice and the objects she creates cannot be clearly placed in a specific time period. Her mix of source imagery–Chinese tomb guardians, fossils, motorcycle armor, medieval illuminated manuscripts and Indian theater costumes–complicates identifying the origin of the works. Tucker’s works imply that the past can be as shadowy as the future.

This exhibition closes 10/12/24.

Oct 102024
 

Luca Sára Rózsa, “The Changing (War)”, 2024, Oil on canvas

Luca Sára Rózsa, “The Changing (Peace)”, 2024, Oil on canvas

Dickens Otieno, “Tethered White Cow”, 2024, Aluminum cans woven on galvanized coffee tray mesh

Currently at Steve Turner in Los Angeles is the two person exhibition E-scape, featuring new paintings by Budapest-based Luca Sára Rózsa and weavings by Nairobi-based Dickens Otieno.

From the gallery-

Both artists make works about the environment and humanity’s connection to it. Rózsa uses loose and expressive brush strokes in lustrous color to depict feral humans in nature. Four of her works relate to the elements of fire, water, air and earth while two relate to war and peace. Otieno creates large-scale colorful wall weavings and floor sculptures made of strips of soda cans. Whether depicting a rural or urban scene, he uses aluminum cans to emphasize the impact of humans on the environment. E-scape suggests a new genre of landscape painting, one that conveys the widespread anxiety for our planet’s future.

This exhibition closes on 10/12/24.