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  • 06.07.24

    Book Launch, Ryan James Caruthers

    We were elated to host the launch of I THOUGHT THAT I WOULD BE IN HEAVEN BUT I AM ONLY UP A TREE by Ryan James Caruthers at our LA gallery.⁣



    Featuring an essay by Ocean Vuong and published by Forma Editions, April 2024.
    ⁣⁣⁣
    In I THOUGHT THAT I WOULD BE IN HEAVEN BUT I AM ONLY UP A TREE, Ryan James Caruthers recounts his time spent in the forest as a child, escaping the societal challenges related to his identity. Despite feeling the unnaturalness imposed upon his young queer body, he found comfort in nature.⁣⁣⁣
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    Nature itself is queer — a realm of alterity that speaks in a mysterious language of light, wind, and rain.⁣⁣⁣
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    Caruthers endeavours to rediscover himself within the California landscape, aiming to conjure moments from his adolescence and reconnect with his origins. Inspired by Caspar David Friedrich’s painting “The Monk by the Sea,” his search for self among the trees evokes an intimate connection akin to that of lovers, reflecting his desire to surrender to an unpredictable force.⁣⁣⁣

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  • 06.04.24

    New Works, JAMESPLUMB

    Artist Statement: Bath stone has a quiet charge that brings us back to it, time and time again. It has an emotional absorbency, and we relish the hours spent in the local stone yards and quarries around the city. These explorations inadvertently reveal an extremely precious aspect to the stones: Years of weathering has created patina where the stone – left exposed – has darkened, while underneath, it has been protected and remains in its raw state.

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  • 05.23.24

    New Collection by Nancy Kwon

    Old Bablyonian omen texts reveal that ancient Mesopotamians observed the behavior of birds, weather patterns and other details of everyday life to predict the future. The tradition of divination in Korea involved practices including silk reading, rain-making rituals and offerings to birds, ancestors and deities. We are a species preoccupied with foretelling the future, and I think it arises from our need for safety and survival. I think about my grandparents and how they were displaced from their homes through war and how it must have put them in a constant state of fear, and how some of that anxiety must have passed down to me.

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Artists

  • Andrea Walsh

    Working in ceramics, glass and metal, Andrea Walsh creates objects that celebrate the ancient and alchemical qualities of her materials. By exploring ideas of containment and value through her considered, tactile objects, she prompts viewers to engage in a spontaneous interaction with her work.

  • Armando Chant

    Combining embroidered linen with pigment washes and etching, Chant uses techniques of erasure and negation to arrive at ambiguous, atmospheric landscapes. His work focuses on the inherent potential of the in-between, a place of imaginative engagement and a nascent state of emergence.

  • Ash Roberts

    The work of Helen Frankenthaler and the Color Field painters of the 1960s and 70s have been influential to Roberts, whose paintings feature large swaths of uninterrupted color – a melange of different tones which seem, suddenly, to crystallize into areas of figuration: a flower, leaf or lily pad appearing from the depths.

  • Berend Boorsma

    Each piece “starts with chaos, where anything can happen,” and slowly evolves over days and months, becoming more refined and distilled to its essence. Following Taoist principles, Boorsma tries “only to act when it comes from within. It is a process in which the painting finds its own form.”

  • Bo Kim

    Kim lives and works in Seoul and studied at Rhode Island School of Design, gaining a BFA in painting and an MA in teaching. Her work celebrates imperfection, which, in Korean culture, implies respect for nature, honoring its natural forms.

  • Charlotte Colbert

    Franco-British artist Charlotte Colbert’s practice spans photography, film, ceramics and sculpture. Her photography combines elements of the surreal with a documentarian approach, blending the boundaries between reality and fiction with long exposure shots.

  • Chris Liljenberg Halstrøm

    There is an intrinsic connection to the passage of time in Halstrøm’s work. Her laborious stitches force the viewer to pause, and to pore over the work’s surface. “I feel that my final pieces reflect a sense of time and an anonymous presence of effort,” she says. “There are no short cuts."

  • Dot Wade

    Dot's distinctive approach to painting embodies structural compositions and a reductive palette, searching for a place of stillness and meditation. The drive to simplify is strong and reflects her belief in a spiritual and minimal approach to life.

  • Ekun Richard

    Ekun Richard relishes rich, earthy tones that celebrate the physicality of nature. Working with oil on card and canvas, as well as handstitched and hand-dyed textiles, his pieces exhibit a natural warmth and gentle sense of wit.

  • Garry Fabian Miller

    Since 1985, Garry Fabian Miller has made cameraless images, essentially abstract photography without camera or film, exploring the possibilities of image-making in works that continue to acknowledge the rhythms of nature and passing of the seasons.

  • Grace Watts

    Grace Watts creates dynamic compositions in oil, acrylic and graphite on canvas. Her pieces are inspired by a philosophy of self evolution, and many begin with a period of focused research into philosophical texts.

  • JAMESPLUMB

    For Russel and Plumb, the distinction between art and design is blurred and interchangeable, both in their own work and in their perception of the world. A table becomes an artwork, or a sculpture becomes a chair.

  • Jean-Baptiste Besançon

    To be in contact with the canvas can be “a fight” for Besançon, evoking strong emotions and “strange sensations”. His practice is not a direct response to personal events, and he avoids offering a rigid framework in which the art should be understood, preferring to contextualise painting as its own language.

  • John Zabawa

    Spanning minimalist presentations and classical still lives, painter John Zabawa is not married to any school or style – instead, he seeks the best way to convey his message, to express something of himself and his process.

  • Koo Bohnchang

    Koo Bohnchang dedicates much of his practice to capturing the passage of time. His celebrated series Vessels, taken over the course of 13 years, studies the frailty and beauty of Joseon-era baekja which Koo visited in major museums around the world.

  • Krista Mezzadri

    Krista Mezzadri explores the potential of monotype printmaking on diaphanous Japanese paper, which she layers on top of one another to create a buildup of interlocking patterns and tone. Her autodidactic method grew from a desire for greater control, having moved from working in watercolours to printmaking.

  • Liam Stevens

    London-based artist Liam Stevens works in layered pigment washes with pencil on canvas, and constructed reliefs. His creations are composed of repeated lines and forms, creating a sense of rhythm in the negative space.

  • Luke Samuel

    British artist Luke Samuel approaches his oil paintings with a deep appreciation for them as objects in space. His canvases are hung in precise relationships on the walls of his studio as he works, with each composition informing the others.

  • Mari-Ruth Oda

    Oda’s serene, emotive sculptures reflect her fascination with fluid lines and natural forms, in materials such as jesmonite, resin and ceramics. “My work says more than I can with words.”

  • Matthew Johnson

    Johnson’s work brings an alternative perspective to every day moments. Above Ground is a series of 35mm film images, taken at elapsed exposure from train windows in New York City, Upstate New York, and across the United Kingdom with multiple international series on the horizon.

  • Mikyung Kim

    Korean artist Mikyung Kim crafts tranquil paintings with painstaking care. Each canvas is composed of multiple layers of acrylic paint that are sanded by hand, softening the tone, texture and brush strokes to create a subtle, vibrating surface.

  • Nadia Yaron

    Sculptor Nadia Yaron carves weighty, organic forms from wood, stone and metal in her home studio in Hudson, New York. Her pieces are hewn with chainsaws and grinders, a necessarily violent practice that contrasts with the tranquil sculptures.

  • Nancy Jiseon Kwon

    Nancy Jiseon Kwon creates ceramics, textiles and works in glass that are rooted in tradition and ritual. From ancient Korean stoneware and hemp burial gowns, to Etruscan votive offerings and Neolithic petroglyphs, her pieces are informed by a long tradition of ceremonial objects created from organic materials.

  • Nicky Hodge

    Hodge studied fine art and critical studies at Central St Martin’s before embarking on her solo practice. She gained a postgraduate diploma in fine art at Goldsmiths College in 2015, which she pursued alongside working at the Government Art Collection as a curator. Since 2018, she has pursued her practice full-time.

  • Paul Philp

    Paul Philp is a studio potter who has been making ceramics for over 50 years. Building everything by hand, he is free to create the forms his imagination requires, beyond the restraints of a potter’s wheel.

  • Rahee Yoon

    Yoon brings her experience in metalwork, textiles, ceramics, woodworking and resin-casting to create enigmatic objects that sit at the intersection of art and design. She studied arts and crafts at Sookmyung Women’s University in Seoul and opened her own studio in 2017.

  • Rich Stapleton

    Stapleton’s eye for organic form and the implicate geometry of the natural world allows him to recognise the continuity between human making and living systems. These are images that express a quiet reverence for existence.

  • Rosemarie Auberson

    Auberson is inspired by the entire visual world, particularly the colours she finds in nature, travel, and film, and the physicality and materiality of the paintings themselves. Her compositions are intentionally open, an invitation to the viewer to become an active participant in their resolution.

  • Samuel Collins

    Favouring the direct carving method of Barbara Hepworth and Henry Moore, Collins works immediately into the stone, hewing simple gestures, arrangements and movements while reconciling irregularities and imperfections in the material to arrive at the final form.

  • Sarah Kaye Rodden

    Kaye Rodden’s sculptural pieces are grounded in a deep appreciation for her raw material, which range from leather of varying shades to ancient bog oak. “My great great grandfather was a tanner and saddler in Yorkshire, and my desire to work with traditional materials, particularly leather, stems from this connection with my past."

  • Spencer Fung

    Fung’s artistic process is characterised by spontaneity and his use of natural materials. “I love to work with the elements I find around me,” he says. “I might use soil for pigment, and water from a lake; I paint instinctively, often starting with a small detail that evolves."

  • Will Calver

    In studying the interactions between light, form and colour, British artist Will Calver’s still lifes convey the quietude and subtle monumentality of everyday objects.

  • Woo Byoung Yun

    Combining science, philosophy and art – as they often were in the past – Woo has a particular interest in the mechanics of light. He draws upon the discoveries of his own time, in particular, quantum mechanics and the recent revelation that light is both a particle and a wave.

  • Yoona Hur

    Yoona Hur is a ceramic artist based in Seoul and New York. Inspired by the full breadth of Korean ceramic history, from ancient earthenware to the white porcelain of the Joseon dynasty, her pieces both preserve and reinterpret this cultural heritage.