Artist Statement: Contemplating our external environment is integral to my practice, but the results are not mimetic. Rather, my work strives to create an artistic language that transcends a singular context, place or time, speaking instead to the shared, universal essence of everything that surrounds us.

Through the implementation of repeated lines and forms, these works draw a parallel between nature’s capacity to generate myriad variations of the same object — like raindrops or leaves on a tree — and our fabricated setting, characterised by duplicate grids, structures, and intersections. This exploration extends to material and spatial considerations, where fullness is interspersed with the void; where the interval is as essential as the structures that define it.

Ekun Richard has created a playlist to accompany his solo show, at the end of the hill we climb, at Francis Gallery.

We are delighted to invite you to our LA gallery for a conversation with Aram Saroyan and Michael Ned Holte, as part of our current exhibition, Writing with Colors.

As part of Aram Saroyan’s solo exhibition, Writing with Colors, we're hosting a drawing workshop with the artist & Woset at our LA gallery. 

Artist Statement: For me, painting is a language that evolves. I allow myself to be as free as possible and avoid committing to any single path.

A new public commission by Mari-Ruth Oda in Shenzhen, China.

‘Untitled’ (2024) by Armando Chant has been selected as a finalist in the Art Gallery of New South Wales Wynne Prize 2024.

We're 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.⁣

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Featuring an essay by Ocean Vuong and published by Forma Editions, April 2024.
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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.⁣⁣⁣

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.

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.