Artist Statement: Titled Non-reification, this collection reflects my desire to portray human existence through the intangible. Drawing from the Frankfurt School’s concept of reification — particularly the process by which human relationships are commodified and individuals are reduced to functional, even replaceable, entities — these paintings strive to go beyond the realm of the material and engage in the sensorial. Non-reification reveals a world not through visible form, but through resonance — intimate, invisible, and vibrational.

Migaam and Casa Francis warmly invite you to join a Korean tea ceremony of 6 delicate courses, serving Korean tteok, kumquat jeonggwa, and more. The 1-hour event will be hosted in conjunction with our current show — Have you eaten today? (밥 먹었어요?) — at Casa Francis, featuring works by Ash Roberts, Christina Kim of dosa, John Zabawa, Koo Bohnchang, Nancy Jiseon Kwon, Lindsey Chan of Office of BC, Rahee Yoon, Will Calver, and Yoona Hur.

Casa Francis — our new exhibition space set in a Spanish Colonial home, just a stone’s throw from the LA gallery — opens this weekend.

The inaugural show, Have you eaten today?, features site-specific works by Ash Roberts, Christina Kim of dosa, John Zabawa, Koo Bohnchang, Nancy Jiseon Kwon, Lindsey Chan of Office of BC, Rahee Yoon, Will Calver, and Yoona Hur.

Casa Francis will be open by appointment only, and Have you eaten today? will be on view from 16 May – 12 June.

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Reserve your visit here

Paul Philp’s work demonstrates a deep sensitivity to structure. A long experimentation with three-sided and four-sided vessels has resulted in the refinement of a dynamic, shifted shape, where perspectives seem to merge across its gently tilted planes. “Vases have always intrigued me,” Philp says. “I wanted the challenge of somehow making the epitome of a classic shape, but taking it further, beyond the traditional, rounded form.” Having settled on his archetypal four-sided vessel over a decade ago, Philp continues to gain a nuanced understanding of its form through repetition, making only the slightest adjustments to each piece.

“The more darkness you can gather up, the more light you can see too.”

Over the past four decades, Korean artist Myoung Ae Lee developed a practice delving into themes of materiality, relationality, and space. Lee’s shaped canvases, currently on view at our LA gallery, challenge the flatness of the surface while preserving its essence. The resulting canvases by Lee interweave the artist’s individuality with the materiality of her medium, imbuing a sense of poetic correspondence. During a conversation at her home-studio in Daejeon, Korea, Lee and I discussed her shaped canvases, her return to academia, and the ongoing process of discovery and revelation at the core of her practice.

For SF Art Week, we've partnered with Evan Kinori to present a weekend exhibition comprising Kinori’s new furniture collection made from sustainably salvaged old-growth redwood; a capsule of naturally dyed garments; and a collection of paintings and sculptures curated by gallery director Rosa Park. William Stout Architectural Books will complement the experience with a selection of rare books, while Stuart Bogie will set the soundscape with a live performance.

Andrea Walsh is hosting a special sale, of pieces available exclusively from her studio, where 10% of sales will be donated to Maggie's cancer care charity.

When Fernando Casasempere moved from Chile to London, in 2007, the first exhibition he saw was Sensation, the famous (and infamous) showcase for the Young British Artists at the Royal Academy. “It made me feel prehistoric,” he says. And little wonder. He’d come from an artistic culture still rooted in modernism, and had an personal aesthetic orientation toward Mesoamerican culture. After studying sculpture in Barcelona and then returning to Santiago, he’d found immediate success, securing major museum exhibitions despite his youth. He felt at once confirmed and confined; it was almost too easy. Casasempere knew that to grow as an artist, he would need to seek out new challenges – and so it was that he came to London, and found himself face-to-face with a shark floating in formaldehyde.

JAMESPLUMB’s Stained Moons, Tender Pray VII, Indigo Bench and For Better For Worse III form part of 'Moments are Monuments', a new exhibition at BY ART MATTERS in Hangzhou, China. The exhibition showcases more than eighty works by twenty-nine artists, including pieces by Anthony Caro, Edmund de Waal, Rachel Whiteread and JAMESPLUMB. The exhibition aims to highlight the importance of small, individual moments within the relentless flow of life as well as how ordinary objects can be imbued with significance and transferred into ‘monuments’. Consisting of eight ‘chapters’ corresponding to a different theme; each room of the exhibition offers audiences a different starting point for reflection.