Peter Gynd: 10989 Dunlop Road

In Dialogue
Peter Gynd, Figures which do not behave within the structure of a Story, 2023, oil on linen, 48 x 36 inches

10989 Dunlop Road features Peter Gynd’s recent oil paintings, inspired by the tranquil garden of his mother’s home in kwekwenis (Lang Bay), British Columbia. This series captures the shifting essence of cedar and fir trees that stand at the garden’s entrance, embodying themes of rebirth and spiritual renewal. Each painting serves as a reflection of Gynd’s connection to this place of refuge during a pivotal time.

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This is the Future of Non-Objective Art at Atlantic Gallery

Featured Exhibition
A room with art on the wall

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Gallery View: Photo Courtesy of Atlantic Gallery Felix Quinonez

Atlantic Gallery, located a short walk from the High Line in Manhattan’s Chelsea, is currently home to This is the Future of Non-Objective Art, curated by Suzan Shutan. This exhibition gathers over a hundred artists from around the globe, each exploring the boundaries of Non-Objective art through unique sensory experiences, experimental processes, and new techniques. Alongside the show, a detailed 110-page catalog is available, offering further insight into the works and artists involved. This large-scale exhibition runs from February 13 to March 2, 2024.

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Self-Storage by Beverly Peterson, at TSL in Hudson

A room with many pieces of cardboard

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Chaos, Video projection mapping and AI animation splash around large and small white cardboard boxes; these display facets of the memories and experiences that are hard to relinquish.

Artist Beverly Peterson has been squirreling away the components of Self-Storage in her studio over several years—collecting, modifying, situating, upending, and repositioning things, paintings, photographs, video, and film. She describes this work as a “deeply personal, emotional, and immersive experience that invites visitors to reflect on their own memories as they explore a dreamlike environment.” It is that, but that’s like describing a particular person as an “ambulating biped with hair.” There’s more.

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Grotto: Shrine @ Soloway

In conversation with Hannah Barrett and Saul Chernick

Saul Chrnick and Hannah Barrett in front of the gallery

The Grotto: Shrine group exhibition at Soloway Gallery, curated by Hannah Barrett and Saul Chernick, featuring works by Orli Swergold, Laurel Sparks, Ben Pederson, and Saul Chernick, merges the physical with the mystical. It showcases sculptures and installations that draw on the use of scale and a diverse range of materials—obsolete electronics, dried grains, paper pulp, and glitter. These elements serve to connect viewers to celestial, underworld, ritualistic, and imaginative realms, referencing the reflective and immersive qualities of shrines and grottos.

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Transformation at Socrates Sculpture Park

In Dialogue
‘Desire Lines’ by Stefania Urist. Image by Alexa Hoyer. Courtesy of Socrates Sculpture Park.

Founded in 1986 by artists, activists, and community members, Socrates Sculpture Park transformed an abandoned landfill into a cultural cornerstone in Queens, New York. This dual-purpose venue serves both as a public park and an exhibition space for contemporary art, targeting early- and mid-career artists. Occupying five waterfront acres, Socrates provides a unique platform for artistic expression and public engagement, offering free access to a civic space amidst the urban environment.

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Embodied Futures and the Ecology of Care at BioBAT Art Space

HOT AIR
A room with a large wall with a painting on it

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Installation view of Katie Hubbell’s, Slow Down Soft Body, Stay with Me, and, Subsuming Solids, photo courtesy of Flaneurshan Studio

In the heart of Sunset Park, within the historic Brooklyn Army Terminal, BioBAT Art Space stands as a pioneering gallery that blurs the lines between art and science. The current exhibition, Embodied Futures & the Ecology of Care, Curated by Elena Soterakis & Eve Barro, showcases eleven artists whose work merges research methods and materials from scientific practices such as genetics, mycology, microscopy, and bacterial cultivation with artistic creation. By using living yeast as their palette and mushrooms as their sculpting medium, these artists challenge conventional artistic norms.

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Laura Williams: A proponent of mixed messages

In Dialogue
A person sitting in a chair

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Laura Williams home studio 2023 by Rebekha Robinson

New Zealand-based painter Laura Williams began her artistic journey twelve years ago in her late 40s, following significant personal upheaval and loss. Turning to art as a means of coping, she replaced alcohol consumption with creativity, using her work to express and manage her anxiety and depression. Diagnosed with ADHD and Asperger’s, Williams found clarity in her penchant for patterns and symbols, which she employs as a unique language in her paintings. Her work, extensively exhibited across New Zealand and Sydney, Australia, is marked by its distinct yet universally resonant themes. The figures in her art, often women alongside men, clothed or unclothed, convey a sense of isolation despite their physical proximity. The dense and intricate patterns combined with vivid colors create an intensely claustrophobic space vibrating with charged psychological tensions.

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Valérie Hallier – Doodling with Petals

In Dialogue
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Valérie Hallier working on the series Déflorée History in her studio during a residency with ESKFF at Mana Contemporary, NJ., 2023


Flower petals gradually became a significant element in Valérie Hallier’s artwork. Fascinated by the profound symbolism of flowers, Hallier initially struggled to incorporate them effectively into her artistic practice. Her initial approach involved photographing flowers in unique ways and settings. She also experimented with their dried components, adhering them to various surfaces. Eventually, she began to focus on pressing individual petals. Hallier discovered that working with petals was ideal for conveying complex themes such as femininity, resilience, sexuality, vibrancy, and decay. Born in Paris, France, and raised in Normandy, Hallier had a shy nature as a child. She was consumed with the ambition to draw everything in existence, a desire for comprehensiveness that continues to influence her work. Art, for her, has always been an essential means of engaging with both her internal and external worlds. Reflecting on her early art education, Hallier fondly remembers her excitement upon meeting others who shared her artistic ‘language.’

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In the End, a Devastating Beauty at Stand4 Gallery

Hot Air
Susan Hoffman Fishman (l) and Leslie Sobel @ Five Points Center for the Arts Artist Residency, June 2022

Susan Hoffman Fishman and Leslie Sobel met in 2019 at a virtual “mixer” sponsored by SciArt Initiative for artists and scientists who either were already working together or who wanted to work together collaboratively. Hoffman and Sobel quickly determined that their mutual interests in water and the climate crisis overlapped. Looking for ways to collaborate, they applied for and were awarded a joint residency in 2021 during the height of the COVID pandemic at Planet Labs, a global satellite imaging company based in San Francisco. Planet had created its residency program to see what happened when artists were given access to their scientists and satellite resources. Because of COVID, the three-month residency ended up being entirely virtual.

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Small Myriad: Sharon Horvath at Bookstein Projects

Installation view, detail, photo courtesy of Etty Yaniv

Sharon Horvath’s paintings in Small Myriad, her current exhibition at Bookstein Projects, create a sense of an alluring universe where dazzling colors, interflowing shapes, and tactile surfaces merge, meander, and as a group form an enigmatic universe unified by a mysterious code. Horvath’s spiraling lines and patterned forms create ebbing and flowing movements echoing Theodor Schwenk’s anthroposophical approach to the unifying principle of all movement and form. In his book Sensitive Chaos: The Creation of Flowing Forms in Water and Air, Schwenk posits that water movements reveal fundamental, archetypal patterns in natural and human-made environments. This deeper order finds resonance in Horvath’s paintings, but simultaneously, her imagery and use of collage also lean toward the enigmatic, paradoxical, and absurd.

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