︎   ︎   ︎  ︎



Monya Rowe, Wallflowers, Bryan Rogers

On view : January 11 - February 17, 2024

As you walk into Monya Rowe you are profoundly pierced by Bryan Roger’s works, akin to that of a temple with icons and idols, a certain air of reverence is instantaneously conjured. Motifs of folk art, art nouveau and psychedelia weave themselves into Roger’s work, yet at it’s core is a disciplined observation of nature’s ornamental intricacies and those of the self. A scintillating crystalline acuteness exudes through the ornate phantasmagoria of utopic liminal landscapes. Perhaps it’s the deliberation and contemplativeness conveyed through a multitude of layered transparent strokes that spotlight a meditative quality of the works. The eye physically ping pongs about to digest the oscillating slivers of translucent paint which coalesce to create coruscating pulsating fields of colour. The meditative quality extends to both it’s creation and perception. The composition’s deluge of depths and dimensions allow for an exploratory experience that invites your eye down meandering manicured paths. Figueres depicted are only of men, either ponderous or in arrested motion, omnidirectionally illuminated by unearthly lights to adumbrate phantasmal silhouettes. They’re veiled by a certain air of forgiving gentleness, seemingly doe-like, vulnerable, genuine - unaware they’re being perceived.

Lomex, La Boheme, Joseph Geagan

On view : February 3 - March 2, 2024

A sardonic tongue-in-cheek lens aimed at the hyper current zeitgeist. Satire poking at the underbelly of clout culture, chichi trends and societal dissonances. It’s fun, click-baity and forgettable - as is the essence of many characters it depicts. The compositions of all the paintings are not stylistically unified and are mostly referential, perhaps alluding to a monkey-see monkey-do mentality that increasingly plagues the collective noosphere. The Fabulist pays homage to James Ensor’s Self Portrait with Masks (1899), rehashing the relevancy of yesteryear’s themes that transcend time by remaining bound to society’s tendrils. Amidst the deluge of chaotic disproportionate faces with complexions ranging from ghastly greys, to absinthe-fevered blues and streetlight oranges, is as an unnerved auto-portrait of the artist with a showman top hat. An addition by Geagen - a red eyed lamb, a humorous stand in for lapsing purity. The nonchalant “Alice in Wonderland” cat sourced from Ensor’s original painting makes a recurring appearance in another portrait, once again used to underline it’s absurdity. A couple pieces are quite stiff, posed “instagrammified” portraits including one of the gallery owner himself - Alexander Shulan, another of two women performatively reading. A down and out, scenester, Hieronymus Bosch-esque “Where’s Waldo” follows, along with a party scene version depicted in the same vein. Other various degrees of degradation and degeneracy are explored. “Succubi of New York and LA'', reads the press release, a punchy one-liner that encapsulates the whole show. Visually reminiscent of Chloe Wise paintings - perhaps touch more genuine or if you’re having a bad trip.

Alyssa Davis, Secrets to Graceful Living, Radimir Koch and Anna Pederson

On view: January 13th - February 25th

Clever and pleasantly cerebral. Radimir Koch’s bio-futuristic sculptures interplay seamlessly with Anna Pederson’s embroidered textiles, intersecting themes of humanism, industrialism and technology.
    Pederson’s black and white glass-beaded tapestries depict photos and anime-like characters. At first glance they semiotically oppose each other, yet their bifurcations are closely interwoven. A photo is generally ascribed the validity of reality. An anime character is an online vessel that houses the essence of a character. However, with customizable avatars sneaking into our devices and ingratiating themselves into our daily existence furthermore expanding the synthetic mediascape, makes one question the authenticity of capturing a moment in the near future. Which is more genuine? The technical execution of the beading supports this inquiry, as its precise flawless nature makes it difficult to determine whether it is hand-made or automated. The folk-inspired red embroidery is visually reminiscent of native eastern european textiles, adding a humanizing warmth, which one again reignates a dissonance. The pieces are sequentially numbered Doomed Avi 001, Doomed Avi 002, in a categorically playful way conveying that we are in fact the doomed avatars.
    Radmir Koch’s sculptures are an infinite feedback loop of the organic, the mechanized and their subsequent synergies. Exo-Relic 002 is a bas-relief plaster sculpture depicting a floral frond (referencing the Mekhana series) disrupting the surface of water resulting in ripples. As if an unearthed fossil, the weathered plaster’s surface imperfections of cracks and crevices are enclosed in a contrasting hyper-futurist sleek 3D-printed frame. At the top of the frame is an extrusion that is quite vaginal, perhaps symbolizing a unified source of creation and the dissolution of inorganic/organic binaries. It’s title Exo-Relic suggests it indeed enacts as a religious object, a reliquary, - our human essence is enclosed within and dependant on a technological membrane, the coalescence of the two is at the forefront of fixation of modern society, a neo-religion of its own. In Koch’s Mekhana series three voluminous sleek and sinuous alien organic inflorescences spring out industrial seed-like hubs. The recurring presence of vents in the sculptures signify an exhaust, an expulsion of breath - the presence of life - yet sustained through mechanized means, relating back to themes of interdependence. The cyber-tech mechanical aesthetics manifest in ridges, grips, extrusions and buttons along the florals - suggestive of utilitarian use. Rapid-fire flashes of objects created to suit our organic needs burst through the mind - toothbrushes, vibrators, vacuums - one is forced to reflect upon the human desire to humanize, soften and streamline manufactured cold objects.
    Secrets to Graceful Living is an eloquent interplay of the most concerning topics of today.

Mary Lindstrom 2023 ©