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Roberta Gentry’s paintings are modestly-scaled gems that begin on a gridded ground and extrapolate outward into self-described “impossible structures.” Every composition is—obsessively—symmetrical. As an abstract practitioner, Gentry is on the Agnes Martin side: she doesn’t like disorder in any form. She gains great satisfaction from

The world’s nations’ continuous need to operate and survive through this exuberant Anthropocene period has drained every earthly resource, reaching now into our privacy and attempting to control the flow of the Internet, our virtual river. People and industry continue to struggle in conflicting cultures.

September 21, 2017–December 7, 2017   Jacques Derrida deconstructed Plato’s concept of khôra, stating, “One cannot even say of it that it is neither this nor that or that it is both this and that.” If that sounds perfectly unclear, that is the point. In ancient Greece,

October 21–December 1, 2017   Erika Lizée’s installations are mathematically driven. She finds beauty in the complex patterns of geometry and uses phenomena like the Fibonacci sequence to create forms that follow the curves of the golden spiral. In her multi-layered works, Lizée assembles painted pieces of

It is logical that the paintings of Los Angeles artist Amir H. Fallah contravene logic. They are surprisingly harmonious composites of numerous unrelated, even contradictory, parts. While his paintings involve complex layering and the deliberately distorted treatment of light—suggesting three-dimensional space—the subjects are flat. Whereas