Marilla Palmer: Ecstatic Earth,Kathryn Markel Fine Arts, New York

Thu 26 Jun 2025 to Fri 1 Aug 2025

179 10th Avenue, NY 10011

Tue-Sat 11am-6pm

Kathryn Markel Fine Arts presents Ecstatic Earth, featuring new paintings by Marilla Palmer. This is her sixth solo exhibition with the gallery.

On this body of work Palmer writes, "Where is Mother Nature? Wondered Goethe. “She is the only artist; arriving, without a trace of effort, at perfection, at the most exact precision, though always veiled under a certain softness.” Working so directly with nature makes it feel like I’m collaborating, but with an unpredictable partner. Who knows what will appear in my studio garden, the forest or in the coral reefs? How will the petals change when pressed or if the wet watercolor, interference paint or sequins will capture the ecstasy of what I see? I find the tiny steps and evanescence of what Goethe called nature’s dance fascinating, even hallucinatory. “We live in her midst and know her not. She is incessantly speaking to us, but betrays not her secret.” wrote Goethe.

Maria Sibylla Merian was determined to uncover nature’s secrets. She believed that insects were having sex and making babies in the ecstatic earth. It seemed like a wild idea at the time, in 1700. She sat in the mud of Surinam and gorgeously documented vibrating life, intimately in minutiae proving her theory. Close observation of what’s growing or flying through my studio garden feels important, urgent, because it’s fleeting. The wind blows in spores and birds drop exotic seeds on the native pollinators. (Who’s native anyway?) Human presence is everywhere on the earth, in the seas and in the sky. So what I do, in my collages, is to create hybrids: nature and artifice. I don’t only document what I see, I respond to the unfathomable beauty of what is with embellishment. Nothing on the earth is pure anymore, our planet is a collage. Technology and travel reveal and make accessible the fabulousness of our planet, but then there’s the famous, Faustian pact.

Purple haze is in my brain, lately things don’t seem the same. Don’t know if it’s day or night. Excuse me while I kiss the sky. A multicolored constantly changing hallucinatory evanescence. Jimi Hendrix ecstatically saw “Butterflies and zebras and moonbeams.” Nature is fluid, euphoric. Hermaphrodite tropical fish flamboyantly change color and shape as they morph from female to male or exist as both, living in the reefs with the hermaphrodite coral and jellyfish bright as miniature neon. But the purple, ochre and black coral is being bleached by pollution. “The tiny island sags downstream, 'Cause the life that lived is dead And the wind screams “Mary””….shred that guitar, Jimi."

Inès Longevial: Skin of a Storm Almine Rech, Tribeca, New York

Thu 26 Jun 2025 to Fri 1 Aug 2025

361 Broadway, NY 10013

Tue-Sat 10am-6pm

Almine Rech New York, Tribeca presents 'Skin of a Storm', Inès Longevial's third solo exhibition with the gallery.

Skin cells are among the most rapidly renewed in the human body, only to be outpaced by varied gastrointestinal organs, elements of blood, and the cervix. Skin is the peel of our human body, a protective layer that encapsulates every other sensitive and squishy slice. Even as we decorate, bruise, and rejuvenate skin, it absorbs time, transforming for all to see. Skin can be a map, a projection—a mole or a scar, soft hands, a knobby knee, and a sweat-laden upper lip can rustle memories awake, occupying a space between seeing and feeling.

Inès Longevial's oil paintings draw attention to the skin, layered in seemingly smooth swatches of ultramarine, crimson, slate, chantilly, and mauve. These self-portraits—composed mostly from memory, informed by a repository of textures and forms consulted prior to their emergence—are a method of situating the artist in herself and the world. They are painted with urgency and oftentimes completed in one sitting. In this flow-state, the female form becomes a surface littered with subtle footnotes, like an odd wrinkle in a pleated skirt or the deep crease of a dog-earred page. A cropped face with down-turned eyes, a punctuated nipple, and a scapula blooming like an iris are, at a distance, totemic. The stoic sitters are disassociated, fermented. Upon closer inspection, hot-pink contour or blankets of honey light, feathered by the dry bristles of the artist's paintbrush, generate a supple, saturated landscape. Longevial offers an extreme perspectival shift through her impulsive markmaking upon the skin, often surprising herself. Her own experience living with myopia (extreme nearsidedness) is relayed to the viewer with grace, transforming skin into a woven surface, a microcosm, within the seemingly smooth composition of each painting. Wrapped in the tangible shimmer of the surface, unconcerned with matching the eye of the viewer, Longevial's sage subject is unconcerned with the viewer's yearning to define, place, or ingest her.

Longevial's drawings make an arresting shift, directly addressing the viewer with deadpan eyes and a seemingly dimensionless face in a tight crop of the eyes, nose, and mouth. In one set, an inverted pelvis is perched upon the lips, with spread legs engulfing the nose in a diamond shape, heels touching at the bridge. In another set, howling wolves replace the nose and a deep plié surrounds the lips. Within the sublime uniformity of the face, a cast of characters narrativizes the legacy of living in flashes of allegory. Ballet slippers are odes to flippant adolescence, while butterflies and snakes allude to metamorphosis. An anthropomorphized house and flower-headed femme throw us off the scent of such simplicity, however—these drawings serve as mythic self-reflection, nodding to place-making, masking, fear, transition, and freedom. Like petite prayer cards, each face is a theater and a mirror. Rather than scars or wrinkles, the imagery emanating from each face is grounded in experience, tethered to what the viewer cannot know behind the eyes.

A lesser-shown element of Longevial's practice, her monotypes, are being shown here for the first time. Although each print is unique, identical twins arise: an identical facial structure hosts distinct hairstyles or diametrically opposed color palettes, for example. Longevial's use of additive and subtractive marks, produced with alcohol markers and oil paint, insinuate an exfoliation and moisturizing regimen. The skin here is in-process, wherein pooled pigment and camouflaged critters upon the face suggest the pressure and joy, turmoil and unabashed sensuality have visceral remnants. These faces are defiant, lacking both performativity and ease so commonly found in female portraiture. In these prints, skin narrates the artist's relation to her changing world—stretching, sagging, morphing, and reflecting altercations or victories no one could know the true depth of.

On the occasion of Longevial's first solo exhibition at Almine Rech's New York City location, a new publication including the artist's drawings and poems written over the last two years will be available. This volume offers comprehensive insight into the artist's use of the face and skin to understand the topography of the body and soul, connected over time.

Mary Sipp Green - Beyond the Visible,Findlay Galleries, New York

Wed 11 Jun 2025 to Fri 1 Aug 2025

32 East 57th, 2nd Floor, NY 10022

Mon-Fri 10am-6pm

Mary Sipp Green’s evocative landscapes transcend the boundaries of realism, inviting the viewer into a world shaped by memory, light, and atmosphere. Her signature skies — layered with subtle, radiant hues — do not merely depict a scene; they reveal its emotional and spiritual resonance.

“I began painting what I saw — realistic, recognizable scenes,” she explains. “But over time, I longed to express something deeper. I wanted my work to speak beyond appearances, to capture a sense of place as it exists in memory and feeling.”

This shift in vision emerged in Dusk on Goldenrod, a turning point in Sipp Green’s career. Inspired by a familiar meadow suddenly transformed by goldenrod and shifting light, the painting marked her transition from realism to something more intuitive and poetic.

A native of New York, Mary grew up drawing in her father’s Manhattan art studio. She studied fashion design at the Fashion Institute of Technology and later ran a boutique in Greenwich Village. Eventually, she moved to the Berkshires, where she embraced painting full-time. “I needed to see what my work could become — I knew I would regret not trying.”

Her influences include George Inness, Albert Pinkham Ryder, James Whistler, Mark Rothko, and the Luminist painters — artists known for their spiritual engagement with light, tone, and space.

Findlay Galleries is proud to present the work of Mary Sipp Green — a Massachusetts-based artist whose paintings open a window into the soul of the landscape.

“These are paintings to live with. Restrained and blurred, with a minimum of edge, they quietly draw you in, enveloping you as in a dream. There are forms enough to suggest a landscape, a seascape, or trees nestled by a stream. The time of day seems to be at twilight or just before dawn. Over it all is light - light as radiance, light emerging from shadow. Mary Sipp Green has brought her art via expert training to its present day stage over a quarter-century of painting. Its dependable quality will not escape you. Most remarkable to me, is a special sense of emergence. Put another way, her visions seem to find their path from within, rather than be forms applied to a surface…Her paintings offer a delicate serenity and peace.”

Niki de Saint Phalle: Mythology, Galerie Mitterrand Temple, Paris

Fri 6 Jun 2025 to Sat 26 Jul 2025

79, rue du Temple, 75003

Tue-Sat 11am-7pm

Entitled Mythology, this exhibition brings together works from the 1960s to 2000 and explores the artist’s iconography and the symbols that underlie it. The Nanas remain Niki de Saint Phalle’s emblem, but many other figures populate her work. Whether animals, monsters or hybrids, her figures often derive from mythology and tend towards a double meaning.

The snake in particular occupies a central role in Niki de Saint Phalle’s work. A recurring motif in the artist’s bestiary since the 60s, it is at once associated with sin and new life, a savior animal but also a cursed beast, its omnipresence calls for a form of transcendence of the violence of nightmares and traumas. She recalls: “I was born terrified of snakes. Snakes are imbued with a bewitching mystery. At the zoo, I loved trembling in front of them. To me, they represented life, an indomitable primitive force. By making snakes myself, I was able to turn my fear of them into joy. Through my art, I learned to tame and harness these creatures that terrorized me.”

Drawn from various mythological traditions, Niki de Saint Phalle’s subjects are imbued with a rich and abundant symbolic imagination. Her work conjures up references to Greek, Egyptian and Christian legends, as well as figures associated with esotericism. These multiple iconographies nourish a singular dreamlike universe, within which the artist gradually fashions her own mythology.

For Niki de Saint Phalle, mythology becomes a tool for reappropriation: she revisits ancient tales to offer a personal reading. By redefining popular myths, she makes them a reflection of her own intimate experience and preoccupations, while infusing them with new meanings. Her work tackles major themes such as women’s emancipation and the fight against injustice.

The Tarot Garden, built in Italy from 1979 to 1993, is a tangible embodiment of Niki de Saint Phalle’s mythological universe. Inspired by Gaudí, the gardens of Bomarzo and the Palais du Facteur Cheval, Niki de Saint Phalle has assembled 22 monumental sculptures representing the major arcana of the Tarot of Marseille. Each work, both architectural and sculptural, incarnates an aspect of her personal vision of the world, combining symbolism, spirituality and reflection on the human condition.

Some of the works presented at the gallery are scale models of the monumental works in the Tarot Garden. These include the Snake Tree (1988), The Hanged Man (1988) and Adam and Eve (1985).

Nature, dragons, monsters and the animals of my artistic imagination kept me in touch with my childhood emotions. In me, the child and the artist are inseparable. (1)

The exhibition Niki de Saint Phalle, Jean Tinguely, Pontus Hultén, a co-production between the Centre Pompidou and the Grand Palais, opens to the public on June 20th. The exhibition retraces the prolific career of both artists through the eyes of Pontus Hultén.

Born on October 29th, 1930 in Neuilly-sur- Seine, Niki de Saint Phalle enjoyed her first retrospective at the Pompidou Centre, Paris in 1980. Recently, her work has been exhibited at the Grand Palais in Paris in 2014, at MoMA PS1 in New York in 2020, and at the Menil Collection in Houston and at the MCASD in San Diego in 2022. Her works are included in some very prestigious museum collections: the Pompidou Centre, Paris; Musée d’Art Moderne in Paris; Moderna Museet, Stockholm; Tate, London; Hirshhorn Museum and Sculpture Garden in Washington D.C.; the MoMA, New York; the Whitney Museum of American Art, New York, among others.

Rosalind Tallmadge: Pareidolia,CARVALHO PARK, New York

Fri 13 Jun 2025 to Sat 26 Jul 2025

112 Waterbury Street, Brooklyn, NY 11206

Thu-Sat 12-6pm & by appointment

CARVALHO presents the 3rd edition of its acclaimed performance series, with a commissioned, architecturally scaled installation by gallery artist, Rosalind Tallmadge, in collaboration with globally renowned Principal dancer and activist, Ingrid Silva, with Elias Re and Vinícius Freire. Tallmadge’s ten-panel tapestry installation of mirrored mica on silk, titled Pareidolia, coalesces to a faceted luminarium, refracting light and the dancers’ forms off its glimmering surfaces.

Apertures to human connection, Tallmadge’s compositions of hand-cut mirrored mica – formed by thin layers of liquid silver on silk – require corporeal presence to come fully into being. The work’s illusory, cloud-like contours offer the reflections of both dancers and audience, while also obscuring them. Speaking to contemporary reflective obsessions, the installation seeks to harness a desire to re-root in a sense of self: individually, collectively – and through the gallery’s perpetual stream of light – in the phenomena of nature.

In the tradition of Light and Space Movement artists such as Mary Corse, Doug Wheeler, and Larry Bell, the installation issues transformation through physical, chemical, and elemental means. Mineral becomes glass-like, while light, air, time, and bodies are integrated into the work. Through the process of making, the silk structures began to represent totemic bodies for the artist, catalyzing an impulse to seek oneself in the suspended forms. The artist states “art as an action” as a means to counteract self-isolating and divided realities, heightened by a mounting dominance of the digital sphere in our behaviors.

While the audience lines this gallery-scaled luminarium, as viewers are pulled into the panels’ illusory wakes, the dancers are the bridge. With this collaboration, Silva expands her international reputation as one of the leading performing artists of her generation, now honing her voice as a choreographer. Silva, Re, and Freire, set their movements through the mirrored surfaces and shrouded forms – the audience tracking them through the gauzy transparencies of Tallmadge’s installation. Silva’s dance work considers the emotional architecture of the stories we build, break, and lean against, as well as their mutability. As choreography engages the inherent impermanence of Tallmadge’s installation, Silva translates the mercurial relationships between body and art object, individual and space.

Performance series are commissioned by CARVALHO, New York, and curated by Director, Jennifer Carvalho. The biannual series invites both visual and dance artists to reimagine their creative process. It draws dance out of the theatre and into the collective consciousness, while bringing visual art into the realm of movement and performance—opening possibilities for both forms. Commissioned collaborations between performing and visual artists consider how disciplines are transformed through collaboration, as limitations are eclipsed, creating new intersectional approaches and total, synthesized works.

Performances are free and open to the public, but due to the limited space, an RSVP is required: rsvp@carvalhopark.com

Rosalind Tallmadge – Visual Artist
Ingrid Silva – Choreographer
Ingrid Silva, Elias Re, Vinícius Freire – Performing Artists
Leandro Albuquerque – Composer
Erica Johnston – Costume Design
Jennifer Carvalho – Curator and Producer

Ingrid Silva (b. 1988, Rio de Janeiro, Brazil) is an activist and among the most prominent figures in contemporary classical dance. Her international career began in 2007 with Dance Theatre of Harlem in New York, one of the most prestigious ballet companies in the United States, where she currently holds the position of Principal Dancer. She is known for her roles in George Balanchine’s Glinka Pas de Trois and Agon; Robert Garland’s Return; Ulysses Dove’s Dancing on the Front Porch of Heaven; and John Alleyne’s Far but Close. She has also danced soloist roles in works by Lark, Ascending by Alvin Ailey, and Contested Space by Donald Byrd.

Silvia is widely recognized for her work as an activist, particularly her fight against racism. In 2019, Silva received her first pair of skin-toned pointe shoes—a symbolic moment that garnered worldwide attention and spurred discussions on representation in ballet. Her hand-painted shoes are in the Smithsonian National Museum of African American History and Culture’s permanent collection. Silva has served as a Cultural Ambassador for the US State Department, and spoke at the United Nations in 2018 and at the UN Summit in 2025. In 2020, she co-founded Blacks in Ballet and also founded EmpowHer.

Sliva has been named one of "20 Women of Success" by Forbes Brazil and participated in the 14th LEAD Conference at Harvard University. She was the first African Brazilian to be on the cover of Pointe Magazine and appeared on the covers of Vogue Brasil and Harper’s Bazaar Brasil. She is also the author of two books: her autobiography “The Pointe Shoe That Changed My World” (2021, Globo Livros) and the children’s book “The Ballerina Who Painted Her Pointe Shoes” (2023, Globinho).

Rosalind Tallmadge (b. 1987, Cincinnati, Ohio) is a multi-media artist living and working in Brooklyn, New York. Tallmadge holds a BFA from Indiana University, Bloomington, 2010, and an MFA from Cranbrook Academy of Art, 2015. Her work has been acquired by international public and private collections and has been exhibited widely in New York, Brussels, Miami, Detroit, Chicago, and Seoul. Recent solo and two-person shows include Pareidolia (CARVALHO PARK, 2025); Aether (CARVALHO PARK, 2024); Moonlight Room (CARVALHO PARK, 2022); Unearthed (Arden + White, 2022); Terrain (David Klein, 2021); The Supernal Plane (CARVALHO PARK, 2019); and Embodied Earth (David Klein, 2019). Tallmadge's architecturally-scaled installation, Pareidolia, acts as the site for a performance collaboration with internationally renowned contemporary ballet dancer and activist, Ingrid Silva, Principal with Dance Theatre of Harlem. Other notable exhibitions include With Eyes Opened: Cranbrook Academy of Art since 1932, Cranbrook Art Museum, Bloomfield Hills, Michigan. In 2023, Opus One commissioned an installation of five site-specific works, titled Les Elements, for the entry rotunda and Opus One’s permanent collection in Napa Valley, California. Tallmadge is represented by CARVALHO PARK, New York, and David Klein, Detroit.

* Rise and Repaint Member * Beyond O’Keeffe: Contemporary Artists in Wisconsin, Group Exhibition

Selected Artists: David Baker, Jennifer Bastian, Myriam Baudin, Brigitte Boucher, Shlomit Cohen Kafri, Scott Espeseth [MFA ’00], Doug Fath, Mira Goodman, Rachael Hunter, Kinga Johnson, Amanda Langer, J. Myszka Lewis [MFA ’15], Paola Mayorga, Michelle Meier, Sara Meredith, Deb Mortl, Denise Presnell, Chele Ramos, Fernanda Rico, Meghan Rosing, Emily Marie Schroeder, Katie Schutte, Lael Sheber, Alyssa Smith-Moudy, Sarah Stankey [MFA ’19], Katherine Steichen Rosing, Mallory Stowe [MFA ’25], Mark Weller, and Rita Yanny [BS-Art Ed ’88]

Curated by: Rebecca Kautz [MFA ’18]

Location: Monarch on Main, 110 S Bristol St, Sun Prairie, WI

Artist Reception: Friday, June 20, 5-7pm

Beyond O’Keeffe: Contemporary Artists in Wisconsin is an exhibition of contemporary artists living in Wisconsin and working in a variety of styles and subject matter. This curated exhibition features work by both emerging and established artists and showcases the diverse, vibrant talent of the contemporary art landscape here in the state. Beyond O’Keeffe is curated and organized by Sun Prairie artist Rebecca Kautz. Event sponsors include the Sun Prairie Tourism Commission and Prairie Music & Arts. This programming is in conjunction with the inaugural Sun Prairie Mural Fest to honor the legacy of Georgia O’Keeffe. In late June artists from around the country will be painting large downtown murals with the Streets of Sun Prairie Reveal Party the evening of June 26th.

Curator Talk: Friday, June 27, 7-8pm at The Loop, 202 E Main St, Sun Prairie, WI

Art critic and writer, Lucy Lippard defines place as “the locus of desire”. The influence of place is significant to contemporary Wisconsin artists as well as in the work of late artist, Georgia O’Keeffe. Artist and curator, Rebecca Kautz discusses the significance or place as it relates to artists and artworks selected for the Beyond O’Keeffe exhibition. Please note that the Curators Talk is located at a different location from the exhibition.

* Rise and Repaint Member * Group Exhibition, Slice Gallery 10th Birthday, Vancouver British Columbia

Slice Gallery
1636 Venables Street
Vancouver, British Columbia
July 5th - July6th 1-6pm
July7th - July 8th - 10am-6pm

* Rise and Repaint Member * Jen Hintz Eggers, Solo Exhibition, Mezzanine Gallery, Wilmington Delaware,

The Mezzanine Gallery,
820 N. French Street, Wilmington, DE
Monday through Friday,
from 8:00 a.m. to 4:30 p.m

The Delaware Division of the Arts’ Mezzanine Gallery is pleased to present “Seeds of Life”, a solo exhibition of collage works by Delaware artist Jennifer Hintz Eggers. The show will be on view from June 6 to July 25, 2025, with a free opening reception on Friday, June 6, from 5:00 to 7:00 p.m.

“Seeds of Life” reflects Eggers’ deeply personal exploration of early motherhood. Her evocative oil paintings beautifully weave sacred geometric patterns, branching lines, and biomorphic “mammary flowers” inspired by physiological forms. These meticulously composed images layer rich colors and potent symbolism, emphasizing life’s cyclical, persistent, and hopeful nature.

Eggers describes her artistic process as deeply meditative, embracing the calming rhythm of drafting patterns using grids and interlocking circles. Overlapping circles, a motif prevalent since ancient decorative art, symbolize interconnectedness and continuity. Her delicate use of transparent oil paints captures subtle shifts—mirroring cellular growth and lunar phases—to embody the various stages of womanhood and caregiving.

A lifelong Delawarean, Jen Hintz Eggers earned her Bachelor of Fine Arts in painting from the University of Delaware in 2008. She is the founder of The Ladies’ Art House and currently maintains her studio practice at the Studios at The Delaware Contemporary. Eggers also teaches painting and drawing courses through New Castle County Art Studio and Delaware Technical Community College. Her artwork has been exhibited at institutions including the Susquehanna Art Museum and the University of Mary Washington.

Through “Seeds of Life,” Eggers hopes to offer viewers a moment of tranquility and reflection—similar to the meditative experience of tracing paths in a labyrinth—reinforcing the reassuring message that life remains cyclical, persistent, and ever hopeful.

About the Artist

Jen Hintz Eggers is a Delaware-based painter whose work explores themes of spirituality, motherhood, and the rhythms of nature through the use of sacred geometry and biomorphic forms. A 2008 graduate of the University of Delaware with a BFA in painting, Eggers is the founder of The Ladies’ Art House and maintains a studio practice at the Studios at The Delaware Contemporary. Her work has been exhibited regionally, including at the Susquehanna Art Museum and the University of Mary Washington. In addition to her studio practice, she teaches painting and drawing at the New Castle County Art Studio and Delaware Technical Community College.

Claudette Schreuders: Genesis, Jack Shainman Gallery, New York

Thu 5 Jun 2025 to Fri 1 Aug 2025

513 West 20th Street, NY 10011

Tue-Sat 10am-6pm

Jack Shainman Gallery presents Genesis, an exhibition of new work by Claudette Schreuders, the artist’s eighth solo exhibition with the gallery. Bringing together figurative sculptures made in both wood and bronze, Genesis reimagines scenes and characters from the suburban landscape of Cape Town that Schreuders calls home. Using the raw material of her own life as the foundation to create portraits that are equally archetypal and idiosyncratic, Schreuders explores how specific forms can convey universal truths and how personal history remains fundamentally connected to social reality.

For over thirty years, Schreuders has made sculptures about the human figure that express a deep understanding of human psychology. Working slowly and gradually, Schreuders carefully shapes her material to create uncannily familiar subjects that invite association and comparison while at the same time resisting any single link or reference. Though the poses and arrangements of her figures are often static, straightforward and direct, Schreuders pays great attention to the subtleties of each face, where slight inflections of shape and contour, or line and color, can provide viewers with the necessary detail to see humanity in figures that might otherwise appear impersonal. Looking at the historical examples of West African and Medieval sculpture, American folk and outsider art as well, Schreuders borrows the simplicity of form and composition found in those traditions as a way of sparking interpretation and emotional investment.

The works in Genesis were made after the conclusion of Schreuders’ previous exhibition with the gallery, Doubles, in 2022. In that exhibition, Schreuders investigated the universal experience of isolation that resulted from the lockdown during COVID-19 pandemic. Her sculptural figures were rendered in joined pairs in which each seemed to hauntingly, if not exactly, mirror the other. In Genesis Schreuders returned to the confines of her own home or studio and looked at the larger world of the suburbs as a kind of idyll in itself, one that can provide the time and space to contemplate the essential structures and forms of life around us.

Like its biblical reference, the exhibition title reflects Schreuders’ sustained emphasis on creating simplistic yet original forms as a way of pursuing profound truths. In the titular sculpture in the exhibition, her partner is shown supine while reading Robert Crumb’s The Book of Genesis. The muted and relatively restrained palette that Schreuders uses to describe the scene ultimately belies its subtlety of detail and psychological implication. This dynamic is present throughout the exhibition in works that are disarmingly approachable before revealing themselves to be materially complex and narratively open-ended. In School (2024), made in bronze, Schreuders depicts her son sitting pensively in a chair too small for his body. Though it appears to depict an exaggerated yet familiar scene, the richly detailed texture and surface of the figure suggest depths of meaning. Like Genesis (2024), Work (2024) considers the act of creation itself, as Schreuders herself is shown fixed in a moment of contemplation while she holds a newly made sculpture in her hands.

The relationship between personal experience and collective history is explored in Crucible (2025), a work originally commissioned by the University of Stellenbosch, Schreuders’ alma mater. A park bench cast in bronze is home to a whole host of indigenous birds that create a delicate balance and equilibrium between them. Schreuders uses the park bench as a formal and conceptual foundation for the work because its history remains charged by the legacy of apartheid, which saw it function as a symbol of exclusion. Schreuders allows the bench to be a site of transformation and possible harmony—it can produce something new out of an original period of trial and tribulation.

Throughout Genesis, Schreuders’ sculptures return to the commonplace and the quotidian, as they ask for a heightened attention to the world of experience that might otherwise be overlooked. With these familiar characters, scenes and moments as her subject matter, she pursues what is universal in them and relevant to all.

About Claudette Schreuders
Claudette Schreuders (b. 1973 in Pretoria, South Africa) lives and works in Cape Town, where she graduated with a Master’s degree from the Michaelis School of Fine Art in 1998. She was part of the Liberated Voices exhibition at the Museum for African Art in New York in 1999. From 2004-2005 her first solo museum exhibition toured the United States and in 2011 she had a solo exhibition at the LUX Art Institute in California. Schreuders has shown extensively in group exhibitions, including Impressions from South Africa, 1965 to Now, at the Museum of Modern Art, New York (2011), Since 2000: Printmaking Now, at the Museum of Modern Art in New York (2006) and Personal Affects: Power and Poetics in Contemporary South African Art at the Museum for African Art and the Cathedral of St John the Divine, New York (2004). Schreuders’ work is included in the permanent collections of The Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; Johannesburg Art Gallery, Johannesburg, South Africa and the Pretoria Art Museum, South Africa, among others.

Kathleen Ryan: Roman Meal, Gagosian Davies St, London

Thu 5 Jun 2025 to Fri 15 Aug 2025

17-19 Davies Street, W1K 3DE

Tue-Sat 10am-6pm

London Gallery Weekend: Fri 6 Jun 11am-6pm, Sat 7 Jun 11am-6pm, Sun 8 Jun 12-5pm

Gagosian presents Roman Meal, an exhibition of two new sculptures by Kathleen Ryan at 17–19 Davies Street, London. In this, her solo debut at the gallery, Ryan mines ideas of utility and excess, luxury and repulsion, pondering culture’s inherent state of perpetual transformation while maintaining an appealing sense of the absurd.

Ryan is known for her surreal interpretations of everyday objects. To date she has realized a glistening jack-o’-lantern at human scale, fashioned a delicate pearl necklace from preloved bowling balls, and pierced the trunk of a 1968 AMC Javelin with an aluminum umbrella to produce cocktail garnish. Applying traditional techniques of making and ornamentation to natural and manufactured objects and materials, Ryan unites the organic and the artificial, producing tense yet self-aware meditations on desire, overabundance, and the cycle of life and death. Like one of the handwrought birds that reoccur within her practice, she plays among the ruins of late-capitalist America, gathering together both remnants of natural beauty and the emblems of overconsumption that led to this ultimate decay.

The exhibition at the Davies Street gallery comprises two new large-scale sculptures, Fender Bender and Sliced Bread (Golden Hour) (both 2025)—the first a pair of triangular lemon slices leaning upon each another, the second a slice of moldy bread slouched against the back wall of the room. Both works are contiguous with the ongoing series Bad Fruit (2018–), in which Ryan meticulously coats the surfaces of enlarged, decomposing foodstuffs with a near-painterly abundance of semiprecious stones. But Fender Bender and Sliced Bread (Golden Hour) are also linked by the shared history of their subjects as everyday and oft-discarded things, something that extends Ryan’s long-standing interest in salvage: in locating and illuminating the beauty that can be found in seemingly common things, from two thin slivers of lemon to the bumpers that were wrenched from the same car to form their aluminum rinds.

Much of the humor that characterizes Ryan’s work stems from an animated back-and-forth between subject and object: between that which she depicts and the often-incongruous materials that she employs to do so. In Sliced Bread (Golden Hour), for instance, it is the lingering pattern of crisscross stitching that reveals the foundational presence of a king-size mattress. That this once-discarded mattress and the slice of mass-produced bread that it has come to portray coexist in such a way is indicative of the manner in which, throughout Ryan’s practice, seemingly quotidian subjects are imbued with a richness of collective and individual stories. Sliced Bread (Golden Hour) is, in addition to the subject it represents and the object that gives it form, an absurd indulgence in and critique of opulence; a meditation on growth, the passing of time, and mortality; and an enduring memory, preserved within a specific brand of pre-cut bread, of the artist’s own childhood.

From May 4 to October 12, 2025, Kistefos in Jevnaker, Norway, is presenting the first major museum survey of Ryan’s work, which originated at the Hamburger Kunsthalle in Germany in 2024.

Above: Kathleen Ryan, Sliced Bread (Golden Hour), 2025. Agate, labradorite, aventurine, argonite, jamesite, copper malachite, citrine, calcite, zeolite, magnesite, amazonite, celestite, prehnite, turquoise, quartz, rhyolite, carnelian, garnet, jasper, serpentine, pink opal, ruby in zoisite, amethyst, quartz, amber, marble, acrylic, steel pins, polyurethane foam, aluminum, and king-size mattress 80 x 80 x 35 inches (203.2 x 203.2 x 88.9 cm) © Kathleen Ryan. Photo: Maris Hutchinson. Courtesy Gagosian

Lucia Wilcox: LUCIA, Berry Campbell Gallery, New York

Thu 22 May 2025 to Sat 28 Jun 2025

524 W 26th Street, NY 10001

Tue-Sat 10am-6pm

She was a true Surrealist...constantly letting all we know emerge from her subconscious. Thus reinventing herself every few minutes.
- Phyllis Braff, Independent Critic and Curator

Berry Campbell Gallery presents its first exhibition of the work of Lucia Wilcox (1899–1974), whose extraordinary life began with her youth in Beirut and unfolded at the center of the Paris and New York art worlds. Residing in East Hampton from the 1940s onward, Lucia Wilcox served as a vital link between European émigrés, such as Fernand Léger, Max Ernst, and Yves Tanguy, and Abstract Expressionists, such as Lee Krasner, Jackson Pollock, and Elaine and Willem de Kooning. With solo exhibitions at Sidney Janis Gallery in the late 1940s and Leo Castelli Gallery in the early 1970s, the New York Times described her life in 1973 as “intertwined in the history of twentieth-century art.” This marks the first exhibition of Lucia Wilcox’s work by the gallery after announcing the representation of her Estate.

Lucia Wilcox: LUCIA focuses on her vividly hued and wildly imaginative Surrealist works from 1939 to 1949. Known professionally as “Lucia” (she was married three times), she referenced Fauvism, Primitivism, and Symbolism, creating Surrealist compositions that stood apart for their joyous embrace of life, freedom, and sensual pleasures. She often used the female nude—along with color and line—to construct a realm of uninhibited sensual pleasure, drawing inspiration at times from Henri Matisse. However, in ironic and tongue-in-cheek depictions, she transformed traditional tropes of female angels, reclining nudes, and dancers—often emblems in works by male artists (including Matisse) of women’s ethereality and sexuality—into affirmations of women’s freedom and pleasure. These “fantasyscapes” pose an understated feminist challenge to a Surrealist ethos in which male artists often used women as muses and mediums for visions laced with erotic violence and hallucinations. Like other women associated with Surrealism—including Gertrude Abercrombie, Dorothea Tanning, Leonora Carrington, Leonor Fini, Kay Sage, and Remedios Varo—Lucia found a voice in Surrealism in the 1940s, a time when as Whitney Chadwick notes in Women, Art, and Society (1990), women artists replaced such ideologies “with an art of magical fantasy and narrative flow.”

While the dreamlike lyricism of Lucia’s work often evokes that of Marc Chagall, she expressed an exuberant zest for life in the moment—contrasting with Chagall’s frequent retreat into memory and spiritual longing. “Painting is your own reflection,” Lucia stated in 1948. “It is a handwriting, a personal speech. I paint because I have to paint and this is my only way of writing poetry.” The ideology shines forth in works such as Jungle Path (1946), in which tiger-like creatures and human faces are growing within a dense tropical landscape. A wide-eyed lion stares toward the viewer, evoking the lion in Henri Rousseau’s The Dream (1910, Museum of Modern Art, New York). But here, the creature does not threaten; rather, it invites the viewer to enter a mystical space where boundaries among human, nature, and the environment dissolve—symbolically rejecting hierarchies that undergird patriarchal structures. Lucia likely drew the swirl in the “a” of her signature from the snake in Rousseau’s Dream, turning its connotation of Eve’s danger and temptation into a gesture of irreverent delight.

Lucia’s overarching theme was freedom—expressed through immediacy, change, and movement, and a merging of the figurative and decorative. She achieved the latter by blending Eastern and Western traditions in dynamic, flat patterns that reference both Islamic and Byzantine art she experienced in her youth in the Middle East as well as her textile design background. Her works from the War years reflect not only her own 1938 flight from Europe but also a broader meditation on humanity’s resistance to oppression: paths stretch into the unknown (sometimes becoming towering angels), spectral figures move fluidly between terrestrial and celestial realms, and a ship sails beneath a coral reef. In the late 1940s, Lucia often used architecture as a compositional framework. In Invaded City (1948), the walls of a European town appear graffitied in floral and geometric designs—as if the interior mosaics of a Byzantine church had turned outward—while spirits fly overhead. The title plays on a double invasion—by war and art. In Everyone Was a Church Within Himself (1948), Lucia depicted the facade or chapels of a Moorish-Baroque church, with women occupying every shrine and archway—as mothers with babies, angels, saints, queens, muses, and dancers. The title suggests a vision of individual spirituality within a universal humanity. Featuring only women, the work imagines a new all-female pantheon.

Maria Antelman: Conjurer, Yancey Richardson Gallery, New York

Thu 29 May 2025 to Thu 3 Jul 2025

525 West 22nd Street, NY 10011

Tue-Sat 10am-6pm

Yancey Richardson presents Conjurer, an exhibition by Greek artist Maria Antelman, her first with the gallery. Bringing together work made over the past five years, the exhibition highlights Antelman’s unique approach to photography in which her lyrical and experimental approach to imagery and montage is combined with a sculptural sensibility and attention to the photograph as an object in three dimensions. Through her merging and splicing together of images—those from the body and from nature—Antelman endeavors to re-mystify our understanding of the natural world.

Over the past twenty-five years Antelman has worked across and at the intersection of several mediums, including sculpture, video and photography, to explore not only the rapid development of technology and the near total entanglement of it with our personal lives, but also how these same technologies reshape our experience of the world. Rather than see it as merely being a tool or appendage, Antelman understands technology as having the capacity to create a new reality around us which, when considered alongside the ever-increasing capacity of science to explain how nature functions, disrupts our ability to connect with and relate to the natural world in more spiritual, even magical, ways.

Conjurer features Antelman’s photographic works that show the intertwining of humankind and nature, though in ways that defy logical or rational explanation. Working predominantly with 35mm film, her works are often composites of multiple images, with fragments of the body—a limb, a nose, a pair of eyes or set of hands—set alongside or even interrupted by an image of a natural form, such as a tree trunk or a stone. Antelman constructs her works to communicate metaphoric meaning, first through the image and then the object as a whole. More than simply providing a container for the images, she treats the frame as a form in its own right and explores its relationship to the space of the image. Instead of functioning as a passive or neutral component, she instead uses the frame to dynamically shape what the images show. In some cases, the frame even provides a graphic quality as well, as their rounded and curved shapes evoke the organic forms found in nature.

Thinking of these juxtapositions as a kind of montage, Antelman is able to create novel and unexpected combinations, with some that reflect upon how we instrumentalize nature, while others show how we can still be reunited with it. Just as often, she merges these different worlds together into a single visual field, resulting in images that recall the bizarre, subconscious spaces of Surrealism or the photomontages of early modern photography. Though they remain beguiling for their novelty and invention, these works also consistently reveal moments of contemplative and serene beauty, moments which are philosophical in their construction yet poetic in tone.

Antelman both deconstructs the body and then reassembles it, not just as a way of imagining a deeper connection with nature, but also as a way of expressing how malleable the very idea of it has become. In place of a techno-utopianism, in which the steady advance of technology is uniformly celebrated, Antelman expresses an atavistic position instead, one which delights in the complexity of nature rather than seeking to explain or instrumentalize it. Her work reminds us that what is mysterious in the world often connects us to what is mystical in it as well.

Born 1971 in Athens, Greece, Maria Antelman received her MFA in New Genres from Columbia University and a BA in Art History from the Complutense University, Madrid. Her work has exhibited internationally, including at the Bemis Center of Contemporary Art, Omaha, NE; Pioneer Works, New York; Macedonian Museum of Contemporary Art, Thessaloniki; Visual Arts Center at the University of Texas, Austin; Botanical Garden I&A Diomidos, Athens; National Museum of Contemporary Art, Athens; Onassis Cultural Centre, Athens; Benaki Museum, Athens; Centro Nacional de Arte Contemporaneo, Cerillos, Chile and Yerba Buena Center for the Arts, San Francisco. Antelman’s work was included in Companion Pieces: New Photography 2020 at the Museum of Modern Art, New York. She has been the recipient of grants from the Onassis Foundation USA, as well as the National Museum of Contemporary Art and the J.F. Costopoulos Foundation, Athens. Antelman has taken part in artist residences including Silver Art Projects, Pioneer Works and the International Studio & Curatorial Program in New York. Antelman currently lives and works in Athens.

Barbara Nicholls: Between the Tides, Patrick Heide Contemporary Art, London

Fri 9 May 2025 to Sat 28 Jun 2025

11 Church Street, NW8 8EE

Wed-Sat 12-5pm, or by appointment

Oscillating between chance and control, Barbara Nicholls investigates the possibilities and limitations of pigment, water and paper, translating her experience of the landscape into abstract watercolours. While drawing, she reflects on natural formations encountered or imagined: tide mark lines on beaches, creeping glaciers and moraine deposits, cliffs and quarries with their shifting forms of geological strata revealing traces of past events and the slow movements of the earth.

The final works are visual embodiments of the experimental processes conducted in her studio - a space that functions as both a laboratory and a site of discovery. Fluid shapes intersect, colours bleed and evolve into one another, and organic lines, reminiscent of the earth’s shifting edges, emerge through her methodical yet intuitive approach.

Nicholls’ operations begin at times with large-scale sheets of heavyweight paper laid flat on the studio floor. The physicality of her practice is vital; she moves across and over the surface, first guiding water into pools or creating delicate lines with transparent washes. Once water touches the paper, it no longer remains flat, requiring Nicholls to carefully manage the buckling surface as she introduces pigment, experimenting with how much liquid the paper can handle. The drying process can be natural or carefully controlled through appliances like electric fans and heaters, which create microclimates that accelerate evaporation, allowing layers of colour to settle and crystallise over time.

Nicholls’ studio practice is a continuous commuting between spontaneity and precision, frequently at the crossroads of deciding whether to accept or resist the direction the liquid pigment takes her. “It’s important to get lost, but not completely,” the artist states. The feeling of self-loss is conveyed in Mesosphere, contemplating the piece is like gazing into a vast lake, drawn in by what lies hidden beneath its layers of water. For Nicholls, the creative process mirrors this sense of tentativeness, yet in reverse. As she makes the work, she can only imagine how it will ultimately appear. The translucency of the watercolour offers a glimpse through time, revealing all past actions in a single work.

In her recent works Nicholls went through stages of liberation, breaking boundaries she once imposed on herself. Earlier works carefully maintain the white margins around the central shapes or never cross the margins of the paper. In works such as Airwave, she allows colours and compositions from underlying applications to spill beyond the lines and fill the voids, expanding the composition past the outer edge. These colours, applied with a wide brush from the edge, become spectral tracings of distant landscapes. Yet, they also integrate into the drawings through what Nicholls describes as "fleeting winds”, the marks left behind by a high tide on the sand, transient in time yet defining in its traces.

Cornelia Parker: History Painting, Frith Street Gallery, Golden Square, London

Fri 16 May 2025 to Sat 5 Jul 2025

17-18 Golden Square, W1F 9JJ

Tue-Fri 10am-6pm, Sat 11am-5pm

Frith Street Gallery presents an exhibition of new works by Cornelia Parker. For this show Parker has created a series of paintings: seemingly abstract oil-on-canvas works inspired by historic newspaper and magazine covers and the colour analysis charts of American artist Emily Noyes Vanderpoel (1842-1939). Also shown are a series of colour plots, made with home-made pigments produced from objects she has used over decades of her practice.

Vanderpoel’s pioneering 1902 volume Color Problems: A Practical Manual for the Lay Student of Color presented colour analysis in a way that appealed across disciplines, breaking down key theories in a series of experimental and visually striking illustrations that were easy to understand. While it was underappreciated in its time, her expression of colour anticipated major developments in modern art by nearly half a century, inspiring abstract artists like Piet Mondrian and Josef Albers.

Parker was drawn to Vanderpoel’s collection of coloured grids, geometric expressions which deconstruct the colour palettes of everyday, antique and natural objects. Egyptian sarcophagi, Assyrian tiles, early Greek vases, butterfly wings and leaves were all under inspection, their palettes scrutinised in 10 x 10 grids of coloured squares, where shades were laid out next to each other in a method of colour analysis that was revolutionary at its time. Parker was struck by Vanderpoel’s maxim: ‘Until our attention is called to it, we are unconscious what apparently unpromising material may yield new and beautiful motives for colour-harmonies.’

A website dedicated to Vanderpoel’s methodology includes a generating algorithm that allows one to take any image and break it down into an analytical colour grid. Using well-known newspaper headlines, magazine covers and iconic photographs as her source, Parker used this to create her own colour charts. The headlines themselves are from over a century of tragic, awe-inspiring and shocking events, from the sinking of the Titanic to Martin Luther King’s famous speech, through the death of Princess Diana to the trial of Donald Trump. Newspapers have appeared in the artist’s works before, in her News at series in which children copied headlines onto blackboards and the films Left, Right and Centre and Election Abstract produced when she was the UK’s official Election Artist (all 2017). This source material highlights absurdity, humour and tragedy of the human condition at a time when print ‘heritage’ media is in decline.

The artist’s paintings are abstract but tied to representation by the narrative in the appropriated headline titles. Her colour charts are rendered in impasto oil on canvas, using a palette knife, an incongruous technique, not readily associated with the precision of modernism. She exhibits the paint palettes used for each painting, its formal alter ego, displaying conscious, versus unconscious mark making, to be considered as equal.

Throughout her career Parker has also created her own pigments. In her Explosion Drawings (1999-2004) she used the ingredients of gunpowder; fine charcoal, saltpetre and sulphur for their potential, (when combined) to explode as well as for their hue; black, white and yellow. Over the years she has amassed her own table of very curious elements including snake venom and anti-venom, charcoal from a Texan church struck by lightning, 70-million-year-old fossilised dinosaur bones, hoover bags from the House of Commons and Lords, burnt cocaine, chalk from the White Cliffs of Dover and beachcombed bricks from a house that has fallen off those cliffs, turned into pebbles by the churn of the tides. For this exhibition she has revisited some of these materials, grinding them up to make paint, creating a series of abstract colour charts which map the curious histories of their constituent parts.

Cornelia Parker was born in Cheshire in 1956. She studied at Wolverhampton Polytechnic and Reading University. Over the last three decades, she has presented numerous major commissions and solo exhibitions nationally and internationally, including a career retrospective at Tate Britain (2022); at the Museum of Contemporary Art Australia, Sydney (2019); Westminster Hall, Palace of Westminster (2017); Metropolitan Museum of Art, New York (2016), The Whitworth, the University of Manchester (2015), British Library, London (2015), BALTIC Centre for Contemporary Art, Gateshead (2010), Museo de Arte de Lima, Peru (2008), Ikon Gallery, Birmingham (2007) and the Modern Art Museum of Fort Worth, Texas (2006).

Antonia Showering: In Line,Timothy Taylor, New York

Thu 8 May 2025 to Sat 21 Jun 2025

74 Leonard Street, NY 10013

Tue-Fri 10am-6pm, Sat 11am-6pm

Timothy Taylor presents In Line, an exhibition of new paintings by British artist Antonia Showering. This is Showering's first solo show in the United States and her second exhibition with Timothy Taylor. This new body of work features atmospheric paintings that explore the complex dynamics of intimacy and its expressions.

In Showering's radiant canvases, the artist translates processes of remembering and forgetting, capturing the ways in which we create narratives that shape our experiences of the world. Working intuitively with automatic mark-making, she leans into chance encounters with paint, coaxing form from spontaneous gestures. In the resulting layered compositions, figures inhabit familiar but ambiguous scenes haunted by spectral traces of underpaintings. Pentimento serves as a metaphor, reflecting the strange, nonlinear passage of time and the way distant experiences can remain forever present. Often, her subjects are physically entwined in scenarios that might be romantic, sexual, pained, therapeutic, or platonic-some, as the artist describes, "half-remembered, half-invented." In ambered, earthen hues, these scenes take on new dimension through moments of chromatic harmony and dissonance; each canvas possesses a luminosity achieved through accumulated washes of colour, evoking the hazy worlds of memory and dreams.

Showering's new paintings focus on the inner workings of personal relationships, reflecting on the pronounced shifts that occur in one's intergenerational roles, particularly the changing flows of responsibility and care. The canvases here revolve around the experience of assuming the duties of child-rearing while also confronting the mortality of one's elders. There are other shifts, too: since her debut exhibition with the gallery in 2022, the artist has moved from London to the countryside in Somerset, where nature surrounds her remote studio. Her paintings often include mountains that face the valley where her maternal family are from in Switzerland-a topography that has long recurred in the artist's work. As the contours of her life evolve, the artist explains, the mountains seem to be a constant.

In Secret Language (all 2024-25) a woman paints while holding a small child on her hip; her gaze is fixed on the painting. At the centre of the composition is the artist's gloved hand, indicating an authorial zone between the duo and the painting she is creating. Yet the vivid, animated marks on the pictured canvas bleed into the space of the painter and her child as well as the palette she works from, suggesting the contexts are ultimately blurred. A digger-a favourite subject of small children-that appears in the lower right-hand corner of the depicted painting anchors this notion.

5L features a classical composition, in which four figures huddle over another who appears to have passed away. They embrace, each seemingly engaged in a personal moment of intense emotion. The figures emerge from and retreat into the boldly painted ground, where active expressions of fluid paint are tempered by rhythmic vertical strokes, like the gusts and gales of grief. Elsewhere, a rare unpopulated painting, After Life, depicts an Edenic landscape in which craggy mountains surround a peaceful inlet. Painted with broad, ecstatic strokes, the sky recalls the appearance of aurora borealis. Three cars are parked on the shore, as if in conversation, while two foxes sip from the water. Here, personal symbology comes together in an uncanny, transcendent scene.

Élise Peroi: For Thirsting Flowers,CARVALHO PARK, New York

Tue 8 Apr 2025 to Fri 23 May 2025

112 Waterbury Street, Brooklyn, NY 11206

Thu-Sat 12-6pm & by appointment

CARVALHO PARK presents the first United States exhibition of French artist, Élise Peroi. Her debut New York solo, For Thirsting Flowers, features eight standing wooden structures, encasing her delicate tapestries.

A series of screens emit a soft light like windows facing the sun at dawn. Nothing definite can be glimpsed, just a suggestion of the pastoral: an efflorescence of petals, stems and leaves, floating biomorphic forms. The luminosity of Peroi’s woven paintings is such that we might feel ourselves carried outside to watch the sky brighten, the air soft against our skin. As you move around these structures, free-standing to enable this three-dimensional view, unwoven warp threads let light and air through. These segments, comprised of thin fibrous filaments, have the appearance of gills, as though to allow the textiles to breath. Peroi’s fiber works together constitute an installation that situates the viewer around a shifting, porous set of frames that intermingle interior and exterior.

These structures resemble architectural thresholds, window embrasures and doorways that stand in ambiguous relation to each other without the solid walls that typically enfold them. Peroi’s use of architectural imagery suggests she is not so much interested in containment — what the house tends to both enable literally for those who inhabit it and to figure in the cultural imagination — as she is in emptiness, a preoccupation that chimes with certain strands of Buddhist thought. ‘Form does not differ from emptiness nor emptiness from form,’ theorist Eve Kosofsky Sedgwick writes, quoting the Heart Sutra. Sedgwick goes on to discuss how dynamic and living emptiness is in Buddhist thought, a quality that resonates with Peroi’s sculptural textile pieces. The screens are arranged to suggest interrelation, a dialogue energetically conducted through the play of each screen’s empty space; between fabric and frame, a gap opens through which a sliver of another screen is visible.

Peroi produces an emptiness — or rather a shaped, textured emptiness — in the images created by the painted woven silk. Comprised of a chain of diamond forms, Région de passage I and Région de passage II, construct a pattern of subtle recesses whose emptiness is made more visible through proximity to abstract floral forms that run up the centre of the compositions. In Faire pont vers le ciel, the vastness of the sky — a signature motif of void — is conveyed through an expanse of pale, silvery silk, the green thread at its heart like cirrus. In otherwise plain threaded units, exposure of the warp gives a sense of gravity, as though its pull has been given a concrete visual correlative.

In Peroi’s work emptiness never excludes abundance; instead, there is a generative mutuality between these states. What is remarkable is how much diversity of line, texture, and color can still express and embody emptiness. Peroi’s surfaces oscillate with lines of thread, their distinctive texture producing a lively background onto which the painted image sits. In Métamorphose, opaquely woven units are interspersed with those identical in form, but so sparsely woven that the surrounding room can be seen through the delicate cascade of threads. La lune uses patches of luminous white thread against a dark ground to evoke moonlight; Le Soleil is its inverse, with white thread illuminating brightly hued floral shapes that appear as if seen through the sun’s glare.

Architecture is certainly on Peroi’s mind. However, the rectangular dimensions of the textiles are those imposed by the loom, as her wooden structures’ vertical orientation remind us of their origin. In Songes II, Peroi makes the reference even more explicit with a frame that juts out horizontally like the beam of a large loom. Architecture and craft historically possessed different statuses because of their associations with gender and intellectual authority. The built environment was part of the public realm, a stage for finance and politics imagined and inhabited by men. Craft, because of its frequent embeddedness within domesticity in practices like embroidery, needlework and weaving, has traditionally been associated with women and as such has been excluded from histories of fine art. Peroi’s monumental structures align architecture and textiles, a reminder of their common etymology (teks), and in doing so she challenges a patriarchal aesthetic value system that has insisted on their separateness as disciplines.

Peroi keeps the loom within the frame and through it we might glimpse her hand at work. The madeness of the fabrics, the intricacies of the process that forged them, is one of Peroi’s central preoccupations. Peroi paints loose, expressive floral motifs directly onto silk. The canvas is then cut into thin strips that will eventually be woven back together. Slowly, through a delicate choreography of tool and gesture, through repetition and endurance, the painting is recomposed with new orientations, planes and patterns. The effect is partly one of defamiliarization. Flowers are broken apart and dispersed across the composition, becoming sinuous abstract forms. But more than anything this technique opens a space for a formal self-reflexivity. Demanding patience, slowness and a meditative attention, Peroi’s methods recall the philosophy of Simone Weil. In Gravity and Grace, Weil writes: ‘we do not have to understand new things, but by dint of patience, effort and method to come to understand with our whole self the truths which are evident.’ Like Weil, Peroi is not interested in revelation, but rather in uncovering something fundamental about how art is conceived. The doing and making of an artwork, all the physical, intellectual and emotional acts that feed into its gestation, tend to disappear once it is finished. A traditional oil-painting, for instance, contrives to conceal all its preparatory work. But it is precisely this essence, this vital sense of materiality and process, that Peroi spotlights in her textile sculptures. Peroi explains that she is interested in ‘what comes before,’ the ‘bud’ of the artwork in the studio.

Peroi’s titles reflect her interest in the liminal space of creativity. Région de passage refers to a connecting way through which people might travel, a journey rather than a destination, preparation rather than product. A similar emphasis is discernible in Faire pont vers le ciel, which translates as building a bridge to the sky. Métamorphose only titles one work, but all of Peroi’s fabric sculptures are arrested in the state it describes: that of transformation, metamorphosis — the final state unclear.

Camilla Moberg: Over The Rainbow, Galerie Maria Wettergren, Paris

Mon 10 Mar 2025 to Sat 31 May 2025

121, Rue Vieille-du-Temple, 75003

Tue-Sat 11am-7pm

Galerie Maria Wettergren presents the exhibition, Over The Rainbow, the first solo show of Finnish artist Camilla Moberg. The rainbow represents hope in many cultures, and Moberg’s large luminous sculptures, with their vibrant colors, radiate a particularly joyful beauty—despite their otherwise serious underlying message. Handcrafted in blown glass in Nuutajärvi, Finland’s oldest glassmaking village, Moberg’s sculptures reflect her thoughts on biodiversity and its preservation. Their totem-like structure is inspired by the stacking of natural stones observed throughout history and across various cultures, symbolizing unity and the connection between humans and nature.

The different glass elements in her sculptures feature intricate patterns inspired by the colors and patterns of insects and birds, such as beetles, dragonflies and owls. By transposing and enlarging these patterns into abstract glass forms, the artist highlights their extraordinary beauty while also emphasizing the threats facing certain animal species. Moberg is fascinated by the colors, shapes and functions of these little creatures, which are not only stunningly beautiful but also vital members of our ecosystem. Through her art, she seeks to remind us of nature’s splendor and its essential role, a theme also reflected in the subtitle she has given to her works: Messengers in Glass.

Graduating from the University of Art and Design in Helsinki in 1992, Camilla Moberg is considered as one of the most important contemporary glass artists from Scandinavia. Moberg has participated in many international exhibitions and has been awarded several scholarships to support her artistic work from the National Council for Design, Finland. Her glass sculptures can be found in numerous public collections worldwide, including The Finnish Art Museum, Riihimäki, Finland; the State Art Collection, Finland; the Stedelijk Museum, Amsterdam, Holland; and the Art Center White Block, Seoul, Korea, among others.

* Rise and Repaint Member Exhibition * Margaret Lipsey: Montreal Arts Council

Margaret Lipsey joins the Women’s Art Society of Montreal’s latest group exhibition, Momentum, hosted at the Montreal Arts Council this May.

Lipsey’s contribution, The Only Way Out is Through, is a deeply evocative piece from her 2024 Wild Collection. This body of work channels the emotional upheaval that arises when one confronts their shadows — the parts of themselves and their past they’ve hidden or suppressed. “In this piece, I step out of the illusion of ease and into the wild truth,”

Lipsey says. “It’s a journey into anger, grief, and ultimately, release — a reclaiming of emotional sovereignty.” Created following a powerful retreat with 85 women in the woods near Bo

Dates: May 1 – 31, 2025

More Information Here

* Rise and Repaint Member Exhibition * Margaret Lipsey: Galerie Lucien Michele

Cater Art proudly announces Prelude, the dynamic launch of its third season of exhibitions, featuring an exciting mix of emerging and established contemporary artists. Margaret Lipsey will present her newest work, Seeing Beauty, from her Borders Not Limits collection.

Borders Not Limits explores the boundaries—physical, emotional, and conceptual—that shape and sometimes confine us. With her signature abstract approach, Lipsey challenges the notion of limits, reinterpreting them as opportunities for transformation and strength. Seeing Beauty offers a vibrant meditation on self-acceptance and empowerment.

During the run of Prelude, Cater Art’s innovative mobile gallery will make three pop-up appearances across the city. Lipsey’s work will be showcased at one of these mobile stops, expanding the reach and accessibility of contemporary art to new audiences. Join us on opening night at Lucien Michel Gallery to experience this powerful collection firsthand and catch the mobile gallery throughout Montreal.

Dates: 2-15 May 2025

More Information Here

Sonia Gomes: Ó Abre Alas!

Brazilian artist Sonia Gomes presents her first U.S. solo institutional exhibition, featuring 13 large-scale, fabric-based sculptures suspended outdoors. Rooted in Afro-Brazilian craft traditions, Gomes's work transforms found textiles into evocative forms that explore memory and cultural identity.

Storm King Art Center, New York

May 7 – November 10, 2025

More Information Here