Carolina Fusilier, Priscilla Jeong, Sylvie Hayes-Wallace, Umico Niwa, Sydney Shen, Karinne Smith

Nov 4 - Dec 17, 2022

Opening: November 4th, 6 – 8 PM

A quick incision has been made with a steady hand manipulating a sharp instrument. As you peel back glossy layers one by one, internal workings are laid unnervingly bare. Typically out of sight, the soft, twitchy interior was always the most seductive part to you. Yet, now knowing how the mechanics work complicates your perception of the whole. To your horror, the inner folds and wiring are now unfurling far beyond their ordained container.

The fictionalized mechanics and hardware of luxury watches and fine jewelry in Carolina Fusilier’s enigmatic New Kind of Sun, 2021 paintings on panel expand upon the sci-fi sleekness of advertising aesthetics, and the ways in which modern life revolves around commodities. Emerging from an ambiguous abyss, Fusilier’s metallic, nearly sentient structures catch and reflect the eerily placed light source of consumer culture.

Nebular Homemaker Rig 2, 2022 continues Priscilla Jeong’s ongoing dissection of hierarchies and labor systems through metaphors of mechanics. Intricately assembled, blackened vertebrae emblazon the front of the wall piece, while delicate leather cables tangled deep within are evocative of a spinal cord and nervous system at once protected and compromised. With industrial materials tightly and meticulously placed into its cavity, the inherent tension and sentimental resiliency of Jeong’s piece is distinctly palpable.

Mapping mental space into physical space, Sylvie Hayes-Wallace considers accumulation as a means to address psychological heaviness. My Paranoia (Do You Ever Worry You Will Get Something in Your Eye and Go Blind?), 2018-2022 documents years of the artist’s selfies of her eye – these images are sent to loved ones to verify the physical integrity of her eye. On the adjacent wall, a cage-like wall work titled Arousal, 2022 is based on the dimensions of an aroused vagina, yet snippets of medical safety data sheets, cigar wrappers, and a Hallmark envelope are neurotically interwoven through the piece’s orifices.

Initially imperceptible, a micro-ecosystem of Umico Niwa’s Daphnes perform life throughout the space: running rampant, fruiting, and blossoming. Much like insects unconcerned with the trivialities and boundaries of human life, the Daphnes’ twig-like bodies parade triumphantly within crevices inaccessible to our own clunky bodies. Labyrinthine pencil drawings explore more elaborate potentials of worlds built solely for Daphnes – impossibly fantastical spaces that intentionally ignore considerations of the man-made environment.

Sydney Shen’s gargantuan, uncanny earring back, Zotty (Violet Gland), 2021, implicates the gallery wall itself as an enormous pierced skin. Across the room, two of Shen’s calf weaners adorned with baby potatoes jut out menacingly. The ready-made agricultural wearables prevent a calf from drinking milk from its mother, cutting a natural maternal relationship short. Shen’s drolly macabre gestures point to the intrinsically absurd undertones of our collective historical past and the evolving present.

Tautly bound to the architecture and absorbing ambient light within the space, Karinne Smith’s membrane works are constructed from swaths of collagen typically used for sausage casings. Trapping glass beads, crab claws, hair ties, mosquitoes, and an array of quotidian objects within the silicone-topped collagen, Smith’s sculptures congeal the beautiful with the abject, and desire with repulsion. The porousness and tactility of Smith’s materials recall a lived-in skin, inconclusively marred by the pleasures and pressures of femininity.

– curated by Moira Sims, 2022

Carolina Fusilier (b. 1985 in Buenos Aires) lives and works between Mexico and Argentina. Solo exhibitions include: Daniela Elbahara Gallery, Mexico City, MX (2021), Locust Projects, Miami, US (2019); Natalia Hug Gallery, Cologne, DE (2018); and La Fábrica, Buenos Aires, AR (2014). Recent group exhibitions include: Museo Moderno de Buenos Aires (MAMBA), AR (2022)The Drawing Center, New York, US (2019); Sculpture Center, New York, US (2018)); Centro Cultural Tlatelolco (CCUT), MX (2019). El Lado Quieto (2021) a recent feature film co-directed by filmmaker Miko Revereza, was screened in the following film festivals: Doc-Fortnight MoMa 2022 (New York, US), IDFA 2021 (Amsterdam, NL) Open City Film Festival 2021 (London, UK), Yamagata International Documentary Film Festival 2021 (JP), Dok-Leipzig 2021 (DE), Black Canvas 2021 (MX), DMZ 2021 (KOR); Images Festival 2022 (CA), True/ False Film Festival 2022 (US), Camara Lucida 2021 (Ecuador) and Pravo Ljudski Film Festival 2021 (Sarajevo). Carolina Fusilier has received The Pollock-Krasner Foundation Fellowship (2019-2020, US), ACC Cinemafund (2020, KOR), Fundacion Jumex (2019, MX) and The Raul Urtasun-Frances Harley Fellowship (2015, The Banff Center, CA).

Sylvie Hayes-Wallace (b. 1994 in Cincinnati) lives and works in New York, US. Solo and two-person exhibitions include: A.D. NYC, New York, US (2022); Badwater, Knoxville, US (2022); Interstate Projects, Brooklyn, US (2021); New Works, Chicago, (2019); Bar 4000, Chicago, US (2018); Limbo, Limbo, Limbo, London, UK (2016); Locker 95, London, UK (2016); Jacket Contemporary, Chicago, US (2016). Recent group exhibitions include: Westbeth, New York, US (2022); King’s Leap, New York, US (2021); Annex de Odelon, New York, US (2021); 464, New York, US (2021); MX Gallery, New York, US (2018); Obst, Chicago, US (2018); Frontera 115, Mexico City, MX (2018); 348 N. Ashland Ave. Rooftop, Chicago, US (2017); Siragusa Gallery at The School of the Art Institute of Chicago, Chicago, US (2014); Prairie Gallery, Cincinnati, US (2013).

Priscilla Jeong (b. 1990 in Bryan, TX) lives and works in New York. Solo exhibitions include: Ryan Lee, New York, US (2019); Interstate Projects, New York, US (2016); and 139 Essex St, New York, US (2015). Recent group exhibitions include: Downs & Ross, New York, US (2022); Colnaghi, New York, US (2022); SVA, New York, US (2022); Miriam and Ira D. Wallach Art Gallery at Columbia University, New York, US (2021, 2021); Chashama, New York, US (2021); On Ground Gallery, Seoul, Korea (2020); Alyssa Davis Gallery + Abby Lloyd, New York, US (2020); Columbia University, New York, US (2019); Virginia Commonwealth University, Richmond, US (2018), Fisher Parrish Gallery, New York, US (2017, 2018), Quintana Roo, MX (2018); Rzeplinski, New York, US (2017); 99c Gallery, New York, US (2016); Sunset Drive Gallery, Miami Beach, US (2013, 2015). Priscilla Jeong has received numerous awards and fellowships, including: the AHL - T&W Foundation Contemporary Visual Art Awards’ Gold Award, New York, US (2022); the Andrew Fisher Fellowship, New York, US (2021); Hayman Visual Arts Gift, New York, US (2021); and the Choy Family Fellowship, New York, US (2020-2021).

Umico Niwa (b. 1991 in Japan) lives and works between the US and Japan. Solo and two-person exhibitions include: Kristina Kite, Los Angeles, US (forthcoming 2023); Final Hot Desert, Salt Lake City, US (2022); Someday Gallery, New York, US (2022); Tilling, Montreal, CA (2022); Holding Contemporary, Portland, US (2020); American Institute of Thoughts and Feelings, Tucson, US (2020); The Anderson, Richmond, US (2019); Terrault Contemporary, Baltimore, US (2016). Selected group exhibitions include: Compás 88, Mexico City, MX (2022); XYZ Collective, Tokyo, JP (2022); Kristina Kite Gallery, Los Angeles, US (2022); Sapien Gallery, Kansas City, US (2021); Miriam Gallery, New York, US (2021); Recess Gallery, New York, US (2020); Underground Flower/The Sunroom, Richmond, US (2019); Evening Hours, New York, US (2019); Collision Craft, Baltimore, US (2019); Candidacy Show, Richmond, US (2019).

Sydney Shen (b. 1989 in Woodbridge, NJ) lives and works in New York City. Solo and two-person exhibitions include: Gallery Vacancy, Shanghai, CN (2021); Queens Museum, New York, US (2021); Sophia Tappeiner, Vienna, AT (2019); New Museum, New York, US (2019); Hotel Art Pavilion, New York, US (2018); For Seasons, Zurich, CH (2018); Springsteen, Baltimore, US (2017); Motel, New York, US (2017); Holy Motors, Hong Kong, CN (2016); Roberta Pelan, Toronto, CA (2016); Weekends, London, UK (2016); and Interstate Projects, New York, US (2015). Recent group exhibitions include: Lubov, New York, US (2022); Kraupa-Tuskany Zeidler, Berlin, DE (2022); 47 Canal, New York, US (2022); Gallery Vacancy, Shanghai, CN (2021, 2022); Deutsches Hygiene-Museum, Dresden, DE (2021); Museum Het Valkhof, Nijmegen, NL (2021); SIBLING, Toronto, CA (2019); The Loon, Toronto, CA (2019); Aldea, Bergen, NO (2019); INVISIBLE-EXPORTS, New York, US (2019); Pina, Vienna, AT (2018); Deitch Projects, New York, US (2018); american medium, New York, US (2018); Chicago Manual of Style, Chicago, US (2018); Condo Mexico City, Springsteen hosted by Breve, MX (2018); and Shimmer, Rotterdam, NL (2018). Sydney Shen’s work is part of the following public collections: Asymmetry Art Foundation, London, UK; Longlati Foundation, Hong Kong, CN; Macalline Art Center, Beijing, CN; and the Sigg Collection, Basel, CH.

Karinne Smith (b. Los Angeles, CA) lives and works in New Haven, Connecticut. In 2021, her work was presented in a solo exhibition at M23, New York, NY. Selected group exhibitions include: Bard Center for Curatorial Studies, Annandale-on-Hudson, US (2023, forthcoming), Hesse Flatow, New York, US (2022); ArtYard, Frenchtown, US (2021), RUSCHMAN, Chicago, US (2021), M23, online, New York, US (2020); Yale University, New Haven, US (2020); The Wrong Biennale, online (2019); and Forest City Gallery, London, CA (2019). Karinne Smith has received numerous grants and fellowships, including: the Connecticut Office of the Arts Emerging Artist Award (2021), Topical Cream’s Black Womxn & GNC Artists Grant (2020), West Collection Visual Arts Fund (2020), Yale University Dean’s Critical Practice Research Grant (2020), Yale University’s Fannie B. Pardee Scholarship for Excellence in Sculpture (2019), and the London Institute of Contemporary Arts’ Artist Collective Summer School (2019).