March 10th

Bill Lowe Gallery is proud to present Flavio Galvan. He submerges himself in the world of matter and forms, expressing with defined gestures, a strong color palette and his rich and multifaceted inner life. Each work is a journey through space, being carried away by a spell of energy as if surfing on a stormy sea. He manages obstacles and accidents and shapes them into a delicious visual symphony of colors.

Flavio Galvan is an Argentine artist currently residing in Florida. During the past 20 years he has created a solid body of work employing classical techniques (oil, ink, pencils, etc..) and also experimenting with other forms of expression.​Flavio has exhibited his work in galleries and museums in South America and United States. Some of his paintings are in major collections in Argentina.​ Flavio's paintings are mainly figurative.


Bill Lowe Gallery presents Separated Land: Agartha, the latest of a series of exhibitions shown in both Atlanta and Lisbon by Fernando Gaspar. In this third iteration of the Separated Land series, Agartha, the legendary civilization said to exist at the Earth’s core, becomes the analogy for the austere manner in which we contain our innermost anxieties, strife and turbulence. In these paintings, Gaspar’s journey has grown introspective, revealing light through sudden veils, protected and revealed by rigorous lines, like boundaries.

n this latest body of work, renowned Atlanta-based artist, Maggie Hasbrouck has returned to themes that have captivated her audience for decades. The yearning for flight. The mysterious, sensual beauty of flowers at the apex of their decadency. The ephemeral place between dream and memory where ours souls transcend the ordinary.


Women In Focus is a non-profit artist-initiated organization of women photographers who have joined together to support and promote the photographic arts.

Founded in 1993 by a group of women who recognized the need for a formal network of women photographers who could assist in each others' personal, professional, and artistic growth, Women In Focus has become a thriving organization whose diverse membership includes photographic artists ranging from beginners to seasoned professionals, all brought together by their passion for photography.

 Sept 10th - oct 22nd

Bill Lowe Gallery is pleased to announce an exhibition of new work by Brenda Stumpf. Her elaborate paintings and sculptures evoke personal associations by way of myth and metaphor. This solo exhibition, titled, “Cavomyrt” (derived from “cave of my heart”), consists of fourteen assemblages that function as nostalgic reliquaries to love, innocence and intimacy. Driven by an astute understanding of materiality, through process, Brenda’s work embodies John Betjeman’s description of childhood as an “atmosphere measured out by sounds, smells, and sights, before the dark hour of reason grows.”

Composed of antique wallpaper, dresses, objects and toys from the artist’s youth, silk flowers, steeped tea bag paper, piano pieces, hand-carved book covers, old reels and even the receiving blanket she shared with her mother, these compositions possess a haunting beauty. Her use of glass and, more predominantly, an acrylic gel medium amplifies the anointed items; they become crystalline and calcified – like the interiors of caves.


Frank Schroeder's new series addresses universal and eternal themes rooted in a contentious dynamism between opposing - but intricately related - spiritual and emotional realms. In a scale typically reserved for historical painting, Schroeder draws distinct lines between ancient and classical narratives with the psychological zeitgeist of contemporary culture. These are often presented with excruciating poignancy in overtly, religiously-inspired tableaux composed of enigmatic archetypes that challenge the viewer into existential exploration.

 JULY 21 - AUG 1

In this series of large-scale works, Bassmi Ibrahim escapes the confines of conventional applications of paint by abandoning the bravado of the brush to reveal purity of color and form. Utilizing “pours” of luscious and hypnotic veils of colors layered onto white grounds, Ibrahim creates enigmatic and seductive manipulations that depict more than a current experience - a brief lull. Instead, these paintings document the experience of “intuitive knowing” - connecting with one’s higher consciousness, the “soul self” - leaving behind the physical “self” as in the sublimity of the meditative state.

 JAN 21 - MAR 7

Archaeologists have discovered exquisite expressions of humanity’s connection to a higher consciousness dating back over 35,000 years. The Pacific Ocean harbors innumerable islands where relatively isolated cultures create ceremonial sculptures, carvings, and masks that connect their people to the natural and supernatural worlds. These concepts are displayed with pieces like the 15th century Head of Buddha and the Slit Gong drums from Vanuatu and Papua New Guinea. The Slit Gong Drums of Vanuatu are depictions of ancestors, spirits and deities whose “mouths” function as the sound piece of the instrument. There are usually two drummers striking the sculpture with sticks at different intervals along the opening creating a multitude of sounds. These Slit Gong Drums are truly talking gods, with human features.

 Aug 14th

Archaeologists have discovered exquisite expressions of humanity’s connection to a higher consciousness dating back over 35,000 years. The Pacific Ocean harbors innumerable islands where relatively isolated cultures create ceremonial sculptures, carvings, and masks that connect their people to the natural and supernatural worlds. These concepts are displayed with pieces like the 15th century Head of Buddha and the Slit Gong drums from Vanuatu and Papua New Guinea. The Slit Gong Drums of Vanuatu are depictions of ancestors, spirits and deities whose “mouths” function as the sound piece of the instrument. There are usually two drummers striking the sculpture with sticks at different intervals along the opening creating a multitude of sounds. These Slit Gong Drums are truly talking gods, with human features.

 May 29th

Fabio Modica is an Italian painter whose first love was Renaissance representational styles. But after a mentorship with expressionist painter Antonio Santacroce and a journey through Mexico, he developed his signature portraits. His work is characterized by a piercing, enigmatic quality achieved by a spur-of-the-moment technique that employs thickly textured paint applied with a palette knife. Modica’s paintings act as a portal through which the mesmerizing visages of entities so dreamlike they seem as deities gazing up upon us with a seductive and compelling spontaneity.

 May 29th

Claire Begheyn’s sea shells, flowing across architectural antiquities, embrace the organic in every way. The beauty of these shells, constructed by the vulnerable creatures that created them as their home, is expressed in the progression of each piece. Balanced but not perfectly symmetrical, the works echo the harmony and eccentricity of nature’s display. Begheyn pairs this natural beauty with the ornate opulence of rococo styled wooden features that emulate nature with stylized leaves and organic shapes. The word “rococo” is, in fact, a blending of the Italian word for stone and the French word for shell. Begheyn does not shy away from the idea that her pieces are ornamental and decorative but trusts in the virtue of the shell itself and her deep intuition to evoke notions of home, protection, beauty and elegance.

 april 17th

Romanian-American artist Daniel Motz presents Reliquaries for the Machine Age, a re-envisioning of discarded mechanical components into intricate assemblages that serve as an archaeological record of where we’ve been, and who we were. These objects became the detritus of the Machine Age - building blocks in the bridge to new technologies and the digital revolution. Motz’s broad background in film-making informs his unique visual poetry, which takes form as tableaux of time - built of components that were designed and mass-manufactured to produce minute bits of work for very specific functions. His works become shrines to a by-gone era of machines and industry; they allow cogs, springs, wires, metallic and plastic minutia to transcend their former intended lives, while creating a platform in which they flourish as elements of art. Each piece makes a mark and creates a moment – in a way it could never communicate in its former use.

Motz’s magisterial constructs are quiet, powerful and masculine; they possess a solid, ordered presence. But their anthropological quality broadens their appeal to all seeking discovery of past identity. The viewer gets a sense that the objects, which are sourced from typewriters, movie projectors, film cameras, reel-to-reel tape decks, bicycles, vacuum cleaners, household appliances, photo enlargers, printers, etc. have somehow been rescued from the graveyard of the landfill. At the same time, his reconstruction of disparate elements is done in a manner that evokes a sense of futuristic cities that might exist in post-historical civilization. Many are even finished in a matte black spray paint that unifies the culturally diverse and obsolete fossils into a singular piece designed to hold the ruin of our mechanical past in a beautiful reliquary.

 april 17th

French-African painter Frank Schroeder presents Françafrique: Impulse, Desire & Decorum. In his North American debut exhibition, Schroeder’s work explodes with vibrancy of color and breadth of expression, coupled with a modernistic use of line and an evocative Neo-Expressionist style layered with a patterned use of numbers and text. The works tell intricately woven stories of biblical themes and personal experience blended with psychological and emotional confessions. They address his fascination with the rhythms of life and the notion of redemption. In these paintings, Schroeder struggles with the dichotomy of decadence and decorum. The tension in these pieces reveals his yearning for indulgence, but also for absolution. An unforgiving intellect probes the realm of the heart and soul.

Schroeder was born to a French mother and a West African father, gaining an ethnicity spanning continents and divergent cultures. His family moved to the Ivory Coast, where he suffered through the First Ivorian Civil War. He retreated to an inner creative world he describes as “dark and sometimes near death.” He found solace studying the philosophy, literature and artwork of the 19th and 20th centuries. In 2004, his gallery in the Ivory Coast was ransacked in the aftermath of the revolt and all his pieces were destroyed. Later moving to Europe, he has emerged from a tumultuous childhood and a soul-crushing artistic debut to become a powerful new voice of cross-cultural relevance.


Bill Lowe Gallery presents Primal Poetry, an examination of primitive forms, symbols, indigenous cultures and their enduring impact on the contemporary psyche. James Havard and Michel Meyer, much like the romantic poets of the late 13th century, approach painting with a strong belief in the senses and emotions, rather than reason and intellect. Both artists present an application of gestures and symbols imbued with lyrical, sublime, sometimes naive strokes in contrasting compositional density. These opposing senses of space lend themselves to a dialogue between the imitate and universal.

 Dec 4 thru Jan 3

Bill Lowe Gallery presents La Splendeur Des Trois Reines (The Splendor of the Three Queens), a dynamic exploration of the wonders and intricacies of human nature in a three-person show of paintings and encaustic works by Barbara Brenner, Brenda Rehrig and Karen Schwartz. The works comprising this show delve into the unexplainable psychological, instinctual and subconscious dimensions of life. This group of artists employs a variety of technical devices to visually convey the incomprehensible, the magical and the mysterious.

Each artist has achieved a superior mastery of their media and each exceeds the traditional limitations of their material. Barbara Brenner uses the ancient encaustic process to layer wax through opulent “pours” in a manner that results in sweeping, elegant images with surfaces that are both sensually beautiful and spiritually transcendent. Karen Schwartz harnesses sweeping gestural line and aggressive layering of oil to convey the emotional potency of the human form engaged in action, whether dance, athletics or more carnal endeavors. Brenda Rehrig takes the encaustic process to unprecedented new levels of complexity. She not only works with pouring wax but further challenges it with a process of primordial extensions called “accretion”. The results is beautiful works that are at once biological and archeological.

 Nov 2014

Susannah Zucker depicts the human body as a vehicle for transformation by combining natural objects that bestow bird-like qualities to them. The wing-like appendages made of bones and antlers offer a testament to the animal aspects of human nature. Zucker explores the instinctual desires and fascinations that often drive us in ways we cannot understand or perceive. A subtle eroticism of feathers and furs is woven into the exhibition's tapestry, filling in the visceral range of the sculptures by making the body a vessel of sensation and pleasure.

Ed Nash was born in Letchworth Garden City, England in 1976. Like several members of the British Post-Impressionist movement who visited, lived and painted in Letchworth, Ed was inspired by the towns amalgamation of urban and rural life and its focus on visual beauty in the town environment.

In his paintings, Ed Nash explores his response to modern day society’s new perspective on visual perfection. They seek to celebrate and glorify the patina produced through the passage of time and exposure to the elements. This collection of work boldly embraces the journey – finding beauty in the imperfections, the cracks and crevices acquired along the way.

 oct 10 thru oct 31

The works comprising this show explore the history of conquest and the genetic impulse which transform the collective into the phenomenon of territorial identity, concepts of space/ nation, belonging and bonding. Gaspar’s work analyzes man’s permanent usage of a complex network of languages and codes, electing colors, materials, graphics and objects that reinforce that marking, emphasizing the similarities and denouncing the differences, on a primary and uncontrollable appropriation on values and rights.

Fernando Gaspar creates his work by exploring the stroke, the drawing and the color. It is a quest for the essential in an insistent, physical movement. He layers his materials in a continual progression, allowing the work to drift, return and never repeat. His subject matters are not always objects of empathy; nor should they be. The dominating “presence” as a counterpoint to the “absence” through domination is portrayed by the layering of charcoal and paint.

 septemeber 12 thru october

Shay Kun combines photo-realism and abstraction in his oil paintings to create seductive, nostalgic glimpses into the complex way in which we record and recall experiences. The paintings demonstrate a technical mastery and offer a cinematic seduction into the theatre of our minds. The recurring theme of these raindrop paintings is the clarity of the water, the path the water has traveled to its location and the nostalgia such images invoke. The reality as it happens - looking out of a window on a rainy day - is never remembered exactly as it was.  

Descended from the school of Color Field and Abstract Expressionistic painters that include Mark Rothko, Jackson Pollock and Helen Frankenthaler, Bassmi Ibrahim’s work produces emotional, ethereal and hypnotic responses in his viewers. Ibrahim’s paintings do not insist on a literal meaning; instead, they speak in a language we intuitively recognize, a language that mimics the movement of water, the massing of clouds, the budding of flowers. Whatever is recalled for us, it is the play of presence and absence that asserts itself as the fundamental rhythm of life.

Richard Heinsohn’s dense, lush application of acrylic gel medium, coupled with a kaleidoscopic use of color, creates topographies that become lunar-like, complete with craters and undulating surfaces. His stated intention is to prod the viewer into a cellular recollection of our primordial emotional history while imbuing the viewer with an almost ecstatic embrace of the life-force unleashed in the creative process in each of us, and our world.
 april 4 - may 2014

Pierre-Marie Brisson Pierre-Marie Brisson was born in Orleans, France in 1955, and works out of his studio in the South of France. Brisson was initially intrigued by art at the tender age of fourteen. Though he worked in a variety of non art positions, he eventually devoted his life to his passion for contemporary art. Brisson studied with painter Bernard Saby during his teenage years, and then settled in Paris in 1979 to study with James Coignard, Antoni Clave, Joan Miro, and Antoni Tapies. These influences are apparent in his painting style, which is often compared to cave painting.

The simplicity of the images used are intended to contrast with the textured elements in his work, to give the impression of being both timeless as well as chic and current. Brisson’s work is held in the private collections of the Fine Arts Museum of San Francisco, San Francisco Museum of Art, Fort Lauderdale Jewish Museum, New York’s George Page Museum, Paris’ Bibliotheque Nationale, Paris Musee de la Poste, Paris Pushkin Museum, Moscow’s Musee Faure, haute couture Paris Groupe Cartier, and the Argentina Musee de L’Hospice Saint-Roch, among many others.  


Bill Lowe Gallery is excited to feature the third annual presentation of premier works by members of the Fine Arts Atelier, a top-tier atelier located in Atlanta. Founded by world-renowned encaustic painter, Michael David, FAWS has gained a reputation as a coherent and potent laboratory which functions as an engine fueling the creative expression of a wide variety of talented artists. When David first offered to share his knowledge with a handful of artists in Atlanta he did not have a master plan. His students, however, quickly learned how lucky they were to have the undivided attention of this master craftsman.

 november 15 - february 21, 2014

Michael David may be the most innovative master of immediate surface since the Abstract Expressionists. He has acknowledged his debt to Abstract Expressionism, but he has transformed it. Where the Abstract Expressionist paintings of the forties and fifties seem like modern cave paintings, as their crude, unfocused, often meandering, turbulent painterliness suggests, David seeks to reinstate prehistory, turning the cave into a temple. His more concentrated, dense and contemplative paintings have the aura of post history. David’s abstract paintings renew immediacy; they reconstitute and strengthen, even apotheosize it. They raise it to a feverishly fresh intensity with their remarkable touch, indicating they are among the very best painterly abstractions made.  

 october 11 - november 14, 2013

Ellen DeLoach Ellen DeLoach DeLoach addresses the dual concerns of the spiritual and the carnal as she explores transformation through the physical act of painting. Her images emerge from a series of a million agitated gestures, frenetic strokes and nuanced hues. DeLoach achieves this dialog by moving rapidly; her intuition and speed create a record of a transformative state; one in which the painter loses herself in order to find herself. This results in a spectacular body of rich, dense tableaux that examines and reveals the archaeology of the emotional body  

Thomas Swanston celebrates the splendor of nature by mixing organic imagery with opulent color. Swanston’s latest series references landscape traditions using silver, gold, and copper leaf to form the contour of birds and vegetation placed upon a hazy, soft pastel background. The subject matter of his paintings is energetic and decisive in one sense, yet yielding in another. Swanston’s work is the end result of an omnivorous search for meaning, and emerges from a love of many seemingly disparate elements. Swanston harnesses the spirituality of the natural world through close observation of the timeless rhythms that inform it.  

 september 6 - october 10, 2013

Abdellah Boukil is a self-taught Moroccan artist whose masterful technique with sand is his own invention. It is born of a cellular connection to natural sands coming from diverse regions of the Moroccan desert, as well as quartz industrially colored sands. While many artists have tried to work with sand, Abdellah “works the sand”. His art consists of sculpting the sand and agglomerating it by addition over different types of carrier mediums.

Paton Miller's work lushly and unabashedly chronicles the vibrant and authentic narrative, events and daily life of people in the villages and environments he has visited. The ideas and experiences are the true catalyst for the work and have allowed Miller to assemble a vast, colorful documentation of these lands that at times seem to function as a “National Geographic of sorts” for the familiar and the subconscious. Miller’s ability to formulate captivating, interwoven depictions of existence and lore serve as only one part of the work, while the physical nature of his paintings hold a presence all their own.

This exhibition also features the work of Abdellah Boukil and Paton Miller.


 july 19 -  sept 1

South Korean artist Jung Kwang Sik is internationally recognized for his masterful fusion of painting and sculpture. Utilizing beds of carved and scratched granite, which he then paints, his works suggest sweeping landscapes viewed from an aerial perspective. These poetic works have an uneven surface; they are sculpture in relief. His grinding work has a limitation in direction and usually achieves patterns of hexagons. The addition of paint to the crowns of these hexagons lends an architectural element to the piece, emblematic of cities, villages and roads.

Daniel Motz advances assemblage by constructing wall sculptures that are composed of a multitude of mechanical devises.  His latest works come to life through the discarded and exposed inner workings of typewriters, movie projectors, film cameras, reel-to-reel tape decks, sewing machines and other objects.  Motz transposes the lost identity of these materials to formulate a new body, an entity that now operates within a radically different context. Spray painting the compositions in a matte black finish further unifies the individual objects  By using these mechanical parts from a technological era – most of which are now obsolete – Motz creates structures that read as abstractions or futuristic cities viewed from space.   


 june 7 - July 5 2013

In Portuguese artist Fernando Gaspar’s work, the written word is often the starting point. That is where it begins. They are then essentially developed from exploring the stroke, the drawing - more than the color. His quest for the essential is an insistent, physical movement. In his large-scale canvases, he paints over charcoal, a secondary matter, layer by layer, overlapping, sometimes opaque, and sometimes transparent. The endless quest for the minimal - and for all - is an impulse, a line. His enigmatic work drifts and returns - it does not repeat or mince. Gaspar’s works are not always objects of easy empathy; nor should they be. They are never smooth planes, nor dermal exercises. Often there is thickness that the paint and stroke silence. He writes about them, to better construct, understand and open them.

This exhibition also features the work of Bassmi Ibrahim and Michael Lotenero.


 APR 26 - JUNE 1 2013

Art over the centuries has been engaged in exploring and producing beauty, but more recently has had a vexed relationship with that concept. In Daniel Blignaut's latest body of work: “A Conversation with Trees”, his work unabashedly aims to achieve aesthetic beauty by evoking a primal fascination with the allure of gold and the aesthetic pleasure of color, pattern and texture — as evident throughout human visual history. Blignaut's process involves making bold aesthetic statements only to soften them with a multitude of layers, which adds to the eventual complexity of the surface. This has the effect of indicating the passage of time on the canvas itself.

This exhibition features the works of Thrush Holmes and Richard Heinsohn.


 FEB 8 - APR 20 2013

Now 84-years-old, Dial’s most recent art will be juxtaposed with principal earlier pieces (1989-1994), allowing viewers insight into the evolution of his artistic vocabulary. This titanic exhibition also includes important works by Dial family artists and others from his artistic community, all of whom influenced his life and his art. Dial’s new work retains its characteristic dense configuration of materials – largely collected from the detritus of our culture and nature – while depicting a transformation to elegantly subdued palettes that reflect themes more open to interpretation. This generation of work transcends the narratives of his powerful earlier work and universalizes Dial’s voice, further cementing his place in art history.

This exhibition also marks Suzannah Zucker's premiere at the Bil Lowe Gallery also acommapnied by Alfredo Bovio Di Giovanni.


 ongoing exhibition

Bill Lowe Gallery lends its curatorial alchemy to the beautification of newly renovated, 3109 Piedmont Estate and Gardens, a.k.a. The Estate (formerly Anthony’s restaurant). The award-winning restoration of this three-acre landmark in the heart of Buckhead was ignited by Tony Conway of A Legendary Event, who envisioned it as a remarkable and incomparable place to house the most exquisite events in Atlanta. Tony gathered top tier collaborators: Mitchell Gold + Bob Williams, Ed Castro Landscape and Bill Lowe Gallery to transform this 200 year old antebellum home into a unique marriage of classic-Southern grace and elegance, coupled with contemporary elements that enliven the space with modern gravitas! The art work is on display throughout the entire facility. Hand-selected by Bill Lowe himself, the results have received widespread accolades as nothing short of extraordinary. If you have ever wondered what contemporary art might look and feel like in a traditional or historical setting, look no further than The Estate!


 Ongoing exhibition

We have partnered with the spectacular new Mandarin Oriental Hotel in Atlanta, located in prestigious Buckhead only steps away from the shopping Mecca’s of Phipps Plaza and Lenox Square.  Bill Lowe has curated a special collection of contemporary art throughout this luxury hotel. While exploring our art exhibition, you can enjoy lunch or dinner at the Café & Bar or visit their world-class spa for an Asian inspired treatment. When the weather is warmer, cocktails in the English Garden is a delightful way to spend the afternoon. For the duration of our exhibition, the hotel will offer an Art Lovers Package for overnight guests.


 Nov 9 - DEC 2012

Jared Martin's mixed media photo encaustic paintings are born from the seeds of a boyhood fascination with maps and dioramas that grew in later years to the use of photography (still images of actual life) and then film-making (images in process—life as it can be). They are delivery systems for layers of visual information enhanced by text and symbols to create a distinctive, still evolving style. While in China working on a film project, he began to record the events of his own life. In Bejing, he met and married Chinese classical dancer, Yu Wei. This marriage, as well as the “marriage” of East and West, film and fine art has come to define and form his artistry. Martin has had a long and successful career as an actor, appearing in Torchsong Triology with Harvey Firestein, and in Hamlet with Martin Sheen on Broadway. He is perhaps best known as Dusty Farlow in the pop culture TV phenomenon Dallas. He has also directed over thirty films.

 Oct 12 - Nov 9, 2012

The most compelling aspect of Kathleen Morris's paintings is the way they plumb the emotional depths, which is inseparable from their sensual beauty. The convergence of spirituality and sensuality-sensualized spirituality, spiritualized sensuality-that is the mystery Morris's paintings evoke. They do so in part through their surface-dense, heavily varnished, holding light in their enigmatic depths, in a manner worthy of the old masters-and in part through their rendering of the human self-image, as it has been called. Indeed, her faces suggest simultaneously the heights of consciousness to which the human spirit can rise and the depths of suffering to which it can sink. Her fantasies- dream pictures-convey the strangeness and horror of being human, particularly a woman.

 JULY 20 - Aug 25, 2012

Classified by the artist herself as, "holographic super graffiti,” Jacqueline Heer digitally creates abstract finger paintings which are then printed on Plexiglas and canvas. Heer strives to stay true to the extended process of traditional painting by adding and subtracting the physical marks her fingers create on an iPad screen with only the use of her hands rather than employing manipulation techniques, such as Photoshop. The iPad, which commonly functions as an extension of the user’s daily life and fleeting activities, is re-examined through Heer’s work as an artist’s tool. It allows Heer to "record a profuse and undulating flow of moves and marks until they crystallize into a whole artistic creation,” thus, rendering her final prints on canvas/Plexiglas permanent contemporary works of art. .

 JULY 20 - Aug 25, 2012

Alfredo Bovio di Giovanni’s life spanned almost the entirety of the 20th century. Born in Fontana Liri, Italy on June 11th, 1907 this extraordinary artistic impresario spent decades foraging through many of the dominant movements that defined the progression of art history. By the time of his death in 1995, Di Giovanni had elaborated a personal quest for modes of expression that would give to his visual language a unique flair – different from his predecessors and contemporaries. This exhibition is comprised of important pieces from his final body of work, coupled with selected works from earlier years. They form a pictorial tour de force mined from a piercing intellect and technical virtuosity.

 JUNE 8 - JULY 13, 2012

Cha’s work has an earthy sensuality that only hints at the possibly deeper meaning. The surface is a technically masterful manipulation of material; layering delicate wood pieces and sanding them by hand, fusing and grinding wooden slivers, Cha meticulously fits together topographical contours that have no beginning or end. These monumental works call upon the ideas of creation, infinity, and eternity. The cone shape that is prevalent in her work references birth in nature; a pointed tip bursts through the earth’s surface and continues to reach upward as it grows. The surface landscape created by these forms is a metaphor for the human egoic experience of continually reaching to create more as we cement our place in the universe.

 MAY 4 - JUNE 1, 2012

We live in a time where life is lived in multiple and simultaneous dimensions. Consciousness is constantly traveling back and forth between the real and the virtual. As a result, our sensory appetite has become insatiable and no singular experience feels complete or gratifying for more than a millisecond. The work in this show demonstrates a possible solution to this manufactured ennui. Illustrated here are pathways for us to navigate our own visions of paradise; time stands still, speeds up and becomes liquid form all at the same time. Paradisio explores the visual and psychological landscape of the multi-dimensional experience, enveloping us in our own yearning for heightened self-awareness.

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