No Place

Dream Time

Pallavi Sen
4.23 — 6.09

In her exhibition Dream Time, Pallavi Sen delves into the translation and interpretation of dreams - literal ones seen when asleep, and visions for future work - through her watercolors. A central theme in Pallavi’s practice is the use of painting as a dynamic vehicle to envision sculptural forms, objects, and architectural elements. These watercolors serve dual purposes: as blueprints for future installations, and gardens, and as tributes to the craft traditions that have shaped her. The Indian concept and Hindi word ‘kalā ‘— the 64 fine arts that range from combing one’s hair to knowing how to cover a bed — influence how she lives, extending her practice to the activities and needs of daily life, the objects she lives with, and new scenes (often paintings) made by hand.

Towards the beginning of the pandemic, Pallavi began gardening. In a popular meme she saw around that time, featuring the late rapper DMX amidst orchids, she was reminded of the simple activities that support lushness, richness: time, and attention. In an era marked by ecological challenges, gardens serve as sanctuaries of growth and connection. Pallavi’s experiences cultivating wildflower meadows and vegetable gardens in Western Massachusetts have enriched her understanding of this bond and led to bodies of work that include harvest collages, garden installations, and sculptures that support vining plants. These pieces explore the rhythms of nature, the joys of harvest, and the shared moments of wonder that arise from nurturing living things.

Through her work, Pallavi outlines a deeper appreciation for the world around us, encouraging viewers (but mainly herself) to embrace the loveliness of each day and the transformative, calming power of creativity, care, and attention.

Pallavi Sen (1989) is from Bombay, India. She works with installation, printmaking, textiles, and intuitive, musical movement. Current interests include planting gardens and meadows, the inner lives of birds and animals, the grief of the Anthropocene, South Asian costumes, domestic architecture, altars, atheism and magical thinking, pattern histories, friendship + love, past/present/future lover, workspaces, work tables, eco-feminism, love poems, the gates to Indian homes, walking, seeds, and what comes of twice daily cooking.

An alumna of St. Xavier’s College, Mumbai, she received her MFA in Sculpture + Extended Media from the Virginia Commonwealth University, Richmond, Virginia, and a BFA from the Columbus College of Art & Design, Columbus, Ohio. She is the Assistant Professor of Multiples + Distributed Art at Williams College in Massachusetts and Dean at the Skowhegan School of Painting and Sculpture in Maine. She has been an artist-in-residence at MacDowell, the Skowhegan School of Painting and Sculpture, PICA’s Creative Exchange Lab, Haystack Mountain School of Crafts, Shandaken Projects, Mildred’s Lane, Ox-Bow, ACRE, and the Yale Norfolk School of Art, among others.

Pallavi Sen: Dream Time will remain on view through June 8th, 2024, in Gallery A. Gallery hours are Thursday through Saturday from 5 pm until 8 pm. Please feel free to contact the gallery for any additional information at noplacecolumbus@gmail.com

Material Mythologies

12.22 — 2.09

I've long envisioned showcasing a program featuring designers and sculptors whose creations resonate with the natural world, exploring forms that mirror human experiences and the elements of nature. This exhibition aims to provoke introspection into the essence of objects, illustrating how they can harmonize in both domestic and public spaces. Titled "Material Mythologies," the show delves into narratives and symbolic significance embedded in various materials and objects. Beyond their tangible and functional aspects, objects carry cultural, historical, or metaphorical meanings, navigating the complex human-object relationships influenced by external value systems. Distorted by control mechanisms and desires, objects often conceal their origin, emphasizing a mythological value.

In the creative realm, artists and designers across disciplines manipulate arrangements through observation and method. Objects undergo deconstruction, transformation, and recombination, birthing new creations. These creatives strive for an active engagement with their subjects, acknowledging the ontological confusion between objects and the masking sign systems. Their efforts aim to disrupt and leverage the mediating functions governing all things, ultimately contributing to the exploration of the profound connections between human experiences and the objects that define our spaces.

-James MS

Raul De Lara (b. 1991 – Culiacán, Sinaloa, México) is a sculptor based in NYC. His practice is rooted in storytelling via woodworking. De Lara immigrated from Mexico to the United States at the age of 12 and has been a DACA recipient since 2012. Growing up in Texas as a non-English speaker, and still currently unable to leave the USA, his work questions ideas around nationality, queer identity, and the immigrant experience. Exploring forms inspired by flora, mask makers, furniture design, and architecture, De Lara imbues his sculptures with a hybrid mixture of Mexican/American cultural references, and functions. His research preserves, honors, and propels forward traditional uses of wood while combining them with new developments in the global industry of woodworking.De Lara received his MFA in Sculpture + Extended Media from Virginia Commonwealth University (2019), and a BFA in Studio Art from the University of Texas at Austin (2015). His selected awards include the 2023 NYSCA/NYFA Artist Fellowship in Craft/Sculpture, 2023 Art in America Magazine’s Top 20 Global Talent to Watch, Penland Distinguished Artist Winter Fellowship, the Lower Manhattan Cultural Council Residency, Haystack Mountain School of Craft Open Studio Residency, the Fine Arts Work Center in Provincetown Fellowship, The National Park Services OCARC Residency, Ox-Bow School of Art Fellowship, a Chicago Artists Coalition HATCH Residency, a Queens New Arts Grant, a New York City Arts Corps Grant, and the International Sculpture Center Outstanding Student Achievement in Contemporary Sculpture Award.

Bella Carlos (b.1998) is a glass artist from North Carolina. Dual enrolled, they earned a BA in illustration at the Rhode Island School of Design and a BA in socio-cultural anthropology at Brown University in 2021; after which they promptly went on to study metalsmithing at the Royal College of Art in London. Bella’s work has been featured in New York Fashion Week, Paris Fashion Week, British Vogue, Vogue Scandinavia, The New York Times and Paper Magazine. As an anthropologist, they have done research on systems of power and how they manifest materially in Sapporo, Japan, Vescovado di Murlo, Italy, and Washington D.C., United States. Bella was taught how to work with glass by their mother who is a stained glass artist and comes from a tradition of Southern craft. They currently have a residency at Urban glass in Brooklyn, a feature in volume 5 of Far Near, a publication on Asian art and culture and is working on a group show at Silke Linder in NYC

Chloe Seibert (b. 1989, New York) lives and works in New York. Recent solo and two person exhibitions include Mickey (New York, NY), ASHES/ASHES (New York), Chris Andrews Gallery (Montréal), and No Place Gallery (Columbus). Seibert works primarily in large scale, figurative sculpture. She has made this unique series of functional candelabras for No Place Gallery inspired by Peter Schumann’s Cheap Art Manifestos.

Zachary Armstrong (b. 1984) lives and works in Dayton, Ohio. Recent solo exhibitions include GNYP Gallery, Antwerp, Belgium (2023); Tilton Gallery, New York, NY (2022, 2018, 2016); Faurschou Foundation, New York, NY/Beijing, China (2022, 2021); The Contemporary, Dayton, OH (2021); Carl Kostyál, London, UK (2019); GNYP Gallery, Berlin, Germany (2019, 2017); Sabsay, Copenhagen, Denmark (2018); Melser/Feuer, New York, NY (2016); Night Gallery, Los Angeles, CA (2015), and Dayton Visual Arts Center, Dayton, OH (2014). Armstrong was included in Inherent Structure, a survey exhibition of contemporary abstract painting at the Wexner Center for the Arts, Columbus, OH in 2018. That year, he also participated in the residency program at Lefebvre & Fils in Versailles, France.

Olivia Pi’ilani Whittier ( b.1999) is an artist based in Columbus, Ohio. She endeavors to reveal the intricate relationship between hands and the earth. Employing clay as her medium, she creates vessels that delve into ancestral and ceremonial storytelling traditions, touching upon themes such as fantasy, romanticism, grief, generational trauma, and the interconnectedness of nature and the human experience. Whittier is pursuing a BA. in Psychology and Minor in Ceramics at The Ohio State University.

Catalina Ouyang has presented solo exhibitions at Lyles & King, New York, NY; No Place Gallery, Columbus, OH; Night Gallery, Los Angeles, CA; Make Room, Los Angeles, CA; and Knockdown Center, Queens, NY. Their work has been included in group shows at the Institute of Contemporary Art at MECA&D, Portland, Maine; Aldrich Contemporary Art Museum, Ridgefield, CT; Kimball Art Center, Park City, UT; Jeffrey Deitch, New York and Los Angeles; Galerie Kandlhofer, Vienna, Austria; and Micki Meng, San Francisco, CA, among others. Ouyang is the recipient of numerous awards and grants, and was a 2020-21 Smack Mellon Artist in Residence. Their work has been written about in publications including the New York Times, Flash Art, Frieze Magazine, Momus, and Artforum. Ouyang holds an MFA from Yale University and is based in New York City.

Ben Quinn (b.1991, Dayton, OH) is an artist living and working in Los Angeles, CA. He received a BFA from Columbus College of Art and Design, and MFA from California College of the Arts in 2016. Recent solo exhibitions include Fused Space in San Francisco, Littman Gallery at Portland State University, and Pt.2 in Oakland. Quinn has also collaborated with Acne Studios in, 2020 and in 2021, releasing a series of painted garments, bags, and an installation in their Hollywood Los Angeles location. Quinn’s upcoming exhibitions include Pt. 2 SF, and Stanley's L.A.

Middleland

Amanda Ba
9.23 — 12.09

Middleland is an exhibition consisting of a two-channel video and a series of four paintings that, together, explore the nuanced circumstances of East Asian diasporic migration in Middle America, and the resulting social and cultural transformation, diversity, and complexity. The title refers to both Middle America and a positing of one’s Chinese-American identity “in the middle” of China and America, something that scholar len Ang describes as a feeling of “in-between-ness.” The work does not celebrate this hybridity but rather ambivalently contemplates the violence that such a proximity to whiteness entails.

The body of work is centered around Ba’s hometown of Columbus, Ohio, a city that occupies a unique position in its mythologized and elusive reputation to urbanites (think of the snowballing online joke amongst Gen-Z-ers, “only in Ohio”). Recently emerging as a commerce, tech and banking hub in an otherwise decelerating post-industrial Midwest, Columbus presents itself as a sort of refuge of comfort on its way to becoming a cultural destination while still retaining a certain Midwestern humility. However, its status as a hotly contested swing state facing issues like police brutality, settlement upon Native land, abortion rights, an alienated working class, and a comfortable suburban middle class makes Ohio a ground zero for ideological tension.

This mix of qualities also helps to achieve a certain statistical American averageness and a sort of complacency that, for decades, has drawn in large immigrant populations to search for an antiquated notion of the American Dream. The tension between Ohio as a destination for multiculturalism and Ohio as an embodiment of the traditional suburban values of the Midwest is where Ba’s interest lies the figurative paintings that accompany the video work portray Asian female figures in environments that are drawn from personal memory and are distinctly White, distinctly Midwestern. She is also interested in a critique of multiculturalism as a neoliberal project, most palpable in her video work, ‘24 Hours in Middleland.’ As Jared Sexton writes, ” the principle political effects of multiracialism are neither a fundamental challenge to the living legacies of white supremacy… but rather the reinforcement of long standing tenets of antiblackness and the promotion of normative sexuality.” Middleland asks the question, how does white normativity undergird what we both celebrate and condemn about diasporic life in middle America?

Amanda Ba (b. 1998) is a painter who lives and works in New York City. She was born in Columbus, Ohio, but spent the first five years of her life with her grandparents in Hefei, China. Diasporic memory is central to her work—vivid paintings that combine personal memory with psychosexual fantasy, featuring figures that challenge a predominantly white Western canon of figural painting. Her interventions in the Cannon do not aim to solely celebrate her cultural identity and it’s inclusion, but to interrogate its formation.

Ba earned her B.A. in Visual Arts and History in 2020 from Columbia University, New York. She has exhibited internationally and held her first solo show at PM/AM Gallery, London. She has participated in group shows such as Real Corpororeal at Gladstone, New York City; Wonder Women at Jeffrey Deitch, New York City and Los Angeles; Eat Drink Man Woman at 180 Strand, London; and At The Table at Christie’s, New York City (2021).

Amanda’s upcoming projects include curating a group exhibition in which she will also be featured at James Fuentes in late Fall 2023 and a solo exhibition at Jeffrey Deitch, New York City, in 2024.

Blush Roder

Taylor Ashby Hawkins
Gallery A
4.29 — 6.10

here are some colors you could see
a jar of spit and color
pink
a small bottle of vomit
floor to ceiling shag
powder sweetness
nearby we sat and cried
back bodies made wind
Planned obsolescence of flowers
of explosions
frozen air
the middle of a sentence,
pink and tourmaline and canton rose
incandescent blood shot eye
spitting in the face of gravity
saying it it all back
you were ready to die
I will miss you
I love you
I was laying on my back and your hand touched mine
revealing what color we are on the inside
rich biometric earthy radiant incandesced
all the other colors are lies
a purity that slept with fantasy
that brown is the color of the sunset from below the earth
from inside the dust
that glow and emit a life and death that is blinding to fathom
but drop things
and walk away
like a jar of bile
in the toilet
ultraviolet radiation
or something elsebut why dont we tell truths with our bodies and our surfaces
pollinating flowers with our tongues

-David Lindsay

Taylor Ashby Hawkins, (b. 1990, Louisville, Kentucky) lives and works in New York. Hawkins attended Columbus College of Art and Design for Painting, earned his BFA in 2012, Shortly after attended Columbia University in NewYork and received his MFA in 2017. Their work uses narrative representation to reveal traces of fantasy, subcultures, sci-fi,and the ability to envision hybrid identities. Through the use of fashion and choreographed poses these figures take on motifs of the digital world into a physical dialogue that can articulate a generations relationship to reality.

Impersonator

Caleb Yono
Gallery B
4.30 — 6.10

I started wearing makeup to high school in the late 1990s. One thing I have heard consistently since then was that I was hiding behind a mask. A mask of one's own making must surely express the inner depths. Glamour drags a lot to the surface. A made up face is a true face.

I was interested in painting Madonna impersonator portraits for several reasons. I like the idea of painting a painted /made up face. The thin film-like mask

makeup is magic. I’m interested in Madonna as a gay icon but also as an appropriator of culture. Someone who is a sort of impersonator herself. I don’t think of myself as a painter. I am impersonating a painter with these works. Madonna’s name sake places the work in to the spiritual realm of goddess worship.

I started with working from an image of a Madonna impersonator on a VHS box from 1991 called Female Impersonators. I then began working from images of Madonna at different points in her career. It occurred to me to work with images from the vhs on my TV screen. I fell in love with the glow and interlaced blur of the vhs. I really wanted to keep that in mind while painting.

I didn’t intend the work to be super political, however recent legislation banning drag- “Male/ female Impersonators” has invited Impersonators into a messy psychosexual drama with cis-conservatives that wish to regulate trans bodies and identities, while banning gender variance for children.

Caleb Yono (b. 1981) lives and works in Chicago, where they received an MFA from The School of the Art Institute of Chicago. Caleb Yono works through representations of figures caught in moments of transformation and transmutation. Yono has exhibited in galleries and institutions including Beers London, Roots & Culture Contemporary Art Center, the Chicago Cultural Center, Andrew Rafacz in Chicago, and Monya Rowe in New York. Yono has also worked extensively with s+s project in Mexico City and has performed and exhibited at the Centro Cultural del México Contemporáneo. They were the 2016 ACRE Residency performance scholar.

Praise the High Grass

Amber Codiñera Locke
Gallery A
2.11 — 3.25

Here, the painting functions not as a window but rather as a two-way mirror. Los Angeles, the setting for Amber Locke’s new body of work, offers the unique experience of viewing the sublimity of mountains and deserts from within the confines of a soundstage.

Like throwing a pot on a wheel, symmetry and balance anchor these works, rendered in clay-like earth tones and soft brush strokes. In Electric Kiln, a particularly flat painting of a loaded kiln looks as if to be from a thousand years ago, without any suggestion of electricity. Locke, with a background in ceramics, shows us the baking of wares in a kiln timelessly and with solemn gratitude.

The paintings may have human beings occasionally referenced, maybe they passed through, left something behind - but there are distinctly no figures present. Objects which have been manmade, or altered by humans, take on anthropomorphic attributes. A plush toy of a fat seal begins to magically come to life and return to the ocean. Tree stumps wear litter like clothing, as if to mock us. A deadly spider shows off her perfect symmetrical figure. Look, but don’t touch. :) We are reminded that we are outsiders.

- Chloe Seibert, 2023

Amber Codiñera Locke (b. 1989, Port Huron, MI) lives and works in Los Angeles, CA. Locke holds a BFA in Industrial Design and Ceramics from Wayne State University in Detroit, MI. Her work draws heavily from Filipino American Diaspora, collaborative process, and the Ceramic Arts to transcend the utilitarian object. She is a co-founder of Hamtramck Ceramck. Locke has exhibited work at the Bahamas Biennale (Detroit, MI), The Pit (Los Angeles, CA), No Place Gallery (Columbus, OH), Interstate Projects (Brooklyn, NY), College for Creative Studies Center Galleries (Detroit, MI), as well as participating in art fairs such as NADA with Essex Flowers (New York, NY)).

Threads and webs
and horns and
bags and everything
is a vessel–
what is filling your jar?
Do you fill it until it breaks?
Do you find what’s yours
in the jar
in the jar
in the jar
I find someone else, today
the little red squirrel
who frequents my yard
jumping from one wooden
limb to another, on the massive
silver maple out
back, in certain sunlights
their puffy tail contains
shades of honey–a child
of the sun
of the sun
of the sun
so bright the material world
forgotten; amazon orders
and burgers and brooms and
broken items returned
money earned, deposited, and spent
in the webbed rush of modern
meter, when time would rather
go untracked
untracked
untracked
in the snow.

Webs and Webs
Lisa John Rogers

The Seven Stars

Michelle 진아 Song
Gallery B
2.11 — 3.25

The Seven Stars—To look at Song’s paintings is to look into portals. Or, perhaps more accurately, to have portals look into you. The figures, femmes emerging out of the near- darkness of the gloaming, or returning to it, are tangled in webs of tropical flora, and each other, stars hovering in their otherworldly mi(d)st. Their environment is assembled from parts both earthly and cosmic. Their skin, a deep violet, marks their otherness, and potentiates their power.

The tableaux reference both classical mystical symbolism– serpents, vines, the moon– and contemporary, maybe even queer, markers– hair braiding, butterfly tattoos, stars and flowers floating all around. The various forms of sentience, including landscape works with no figures, give form to an ongoing inquiry into the healing practices of women before imperialism, the knowledge of indigenous spiritual tradition, and belonging/becoming in the present.

-Rocket Caleshu

blades of stars singing

a butterfly whispers hi

forest hugging me

-Alix Ross

Michelle 진아 Song (b. Hayward, California. 1989) is an artist living and working in Los Angeles. In addition to their painting practice, they hold space for a traditional Ashtanga Yoga program, and are the special projects designer for the Philosophical Research Society. Song holds a BA in Fine Arts from UCLA

Tangible Possibilities

Kearra Amaya Gopee
Shala Miller

11.11 — 12.10

No Place is pleased to present TANGIBLE POSSIBILITIES curated by Reg Zehner. This exhibition creates the space of collaboration between Shala Miller and Kearra Amaya Gopee to showcase both artists’ expansive works across print media, photo and installation.

TANGIBLE POSSIBILITIES is the meeting place of Dr. Denise Ferreira da Silva’s concept of ‘implicancy’ and Noami Beckwith’s theory of “errant forms”. Dr. Silva’s pursuit in constructing a “material approach to the aesthetic”, recenters the body not as an instrument of knowledge, but as a site of contact that allows for implicancy; an existence of ‘both entanglement and contradiction rather than unity’. Beckwith’s errant forms calls to the works of black artists that oftentimes go unnoticed due to their abstracted approaches to representation and forms. By that, black expression for oneself or for another is commonly subjected to how (or the perception) it appears, rather than what (the materiality) is being expressed.

It is the tangible possibilities in the errant form - the moments where black expression can be felt, no matter how it is perceived, is the path this exhibition takes.

The works of Kearra Amaya Gopee and Shala Miller are guides in this endeavor. By taking what Gopee has called an ‘anti-disciplinary’ approach, which is a practice focused on the processing of emotions, memories and histories that define the medium the work takes, both artists employ a diverse range of materials to cultivate emotional spaces that can capture the depths of their own lived experiences. It is that emotional weight, built by Miller and Gopee that is the tangible possibility of the errant form – a way that art carves itself to not only be a representative of the experience, but be the experience itself. -Reg Zehner

Kearra Amaya Gopee (They/Them) (b.1994, Carapichaima, Kairi —the larger of the twin island nation known as Trinidad and Tobago), is an anti-disciplinary visual artist living and working on Tongva land (Los Angeles, CA). Their research based practice focuses on violence as it exists in/is enacted on the Anglophone Caribbean and its diasporas. They render this violence elastic and atemporal—leaving ample room for the consideration and manipulation of its history, immediacy and possible generative afterlives. Using lived experiences as a point of departure, they address violence’s impact on themes of (post)coloniality, affect, migration, intergenerational trauma, queerness, difference and healing.

While complicating the viewer’s understanding of economic and social marginalization in the region, their practice also desires to test the mettle of these same frameworks. Through their interventions, they aim to temper what we have known to be true with the potential of intuitive knowledge that have been historically cast aside in favor of Western assimilation.

They hold a BFA in Photography and Imaging from New York University and are an alum of the Skowhegan School of Painting and Sculpture. Currently, they are a MFA candidate at University of California, Los Angeles.

Shala Miller (They/Them) also known as Freddie June when they sing (b. 1993, Cleveland Ohio) was raised by two southerners named Al and Ruby. At around the age of 10 or 11, Miller discovered quietude, the kind you’re sort of pushed into, and then was fooled into thinking that this is where they should stay put. Since then, Miller has been trying to find their way out, and find their way into an understanding of themself and their history.

Miller holds a BFA from School of the Art Institute of Chicago and is a current MFA candidate at Bard College. They received a fellowship to attend the Skowhegan School of Painting & Sculpture in 2017 and was a participant in the New York Film Festival’s Artist Academy in 2019. They have been included in group shows/screenings at Helena Anrather (New York), Red Bull Arts (New York), AC Institute (New York), and Museum of Contemporary Photography (Chicago).

Miller currently lives and works in Brooklyn.

A Depthless Tropic

Leonardo Kaplan

9.16 — 10.18

The collection of artworks in this exhibition stem from the desire to empathetically relate to the way we, culturally, have irrevocably rationalized place and ecological reality.

Here unfolds an emotional, visual and physical disassociation of our biological and chemical world.

Pointing at the traces, tropes and histories of affectation embedded in our cultural translation of landscape, biology and natural systems.

Much of the imagery is sourced from nature photography books, magazines and old post- cards that are emblematic of our imagined romance, distortion and violence with nature.

These photo-sculptural objects reveal a strangely personal set of implications concerning the origins of these types of images and their interpretations.

They are contrasted with quotidian images of endemic “weeds” and familiar house plants.

Leonardo Kaplan (b. Bogota, Colombia, 1985)is a visual artist based in Chicago, IL. He has exhibited in Chicago with Paris London Hong Kong, New Capital Projects and the Graham Foundation, at Basket Shop in Cincinnati, the Fries Museum in Berlin and has been represented by Paris London Hong Kong at NADA New York 2022.

Decoys

Kim Westfall

7.22 — 9.9

Gallery A

This body of work is from the perspective of humans.

The past few years, I have been interested in focusing on nature and the sublime. Particularly the violence of nature and sublimity which often gets overlooked in favor of beauty.

I am attracted to the concept of decoys because of their implied violence. They deceive birds so hunters can shoot them. I also like that they are an American folk craft similar to rug tufting. I see a strong parallel here to American identity in terms of mundane violence, deceptive appearances and messaging, and a distorted relationship to simulacra.

At the same time, I am interested in expanding the technical application of rug tufting, inspired by the écriture works of Korean painter Park Seo-bo. I took the Hanja relief stripes of Park’s works and reworked them as tufted lines reminiscent of chenille fabrics. This also recalls Agnes Martin’s paintings and her interpretations of Zen clarity through meditative repetition.

I wanted to extract the figure from my work, and relate more to nature and objects. Transposing the decoy onto modernist serial repetition felt like the first step in this process.

Kim Westfall (b. 1986; Seoul, Korea) lives and works in New York City. Westfall’s practice focuses on American and Korean identities from oblique, unconventional angles that question how identity acts as a node within larger systems of nationality, history, and nature. In Decoys, painted sculptures of birds used in hunting are depicted in moments of stillness. Taking cues from American folk crafts and the Korean painter Park Seo-bo, Westfall’s textiles integrate the history of modernist repetition; painted lines are transposed onto tufted fiber. Westfall earned her BFA in 2008 from the Rhode Island School of Design. She has exhibited internationally and held solo shows at Thierry Goldberg in New York and Big Medium in Austin, TX (2014). She was awarded a travel grant through the Jerome Foundation in 2017 to research her personal history and the legacy of her adoption agency, Holt International. Westfall’s first exhibition at No Place, Chibi USA, followed in 2018, and she was designated a GKS scholar that fall. Westfall pursued language and painting studies in South Korea from 2019 to 2020. More recent exhibitions include Splendid Bitch at White Columns in New York (2020) and a public art project on the Hudson titled As An Angle-American in 2021. This is Westfall’s second exhibition at No Place Gallery. Upcoming exhibitions include a solo show with Gaa Gallery in Provincetown, MA, in early August 2022.

Speed Bump

Tim Johnson

7.22 — 9.9

Gallery B

For Speed Bump, Johnson has created school bus seats and positioned them on the gallery wall to be seen as if one were sitting aboard a bus looking at the back of the next seat. Constructed from childhood recollections, the bus seats are scaled to be larger than life in an effort to conjure an adolescent perspective.

Johnson’s artistic technique is one of juvenile vandalism. A cigarette lighter melts the vinyl and is pressed head first into the softened and smoldering fabric to leave a permanent indentation. The works are spray painted and selectively wiped away leaving pools of paint which reveal the depth of the branded vinyl “seat.”

Each seat showcases a different cartoonish Lucky Charms marshmallow. The familiar, childish subject matter lowers the guard of the viewer while the delinquent technique used to create the work pressures the viewer to reconsider the mode of construction of their own memory.

Tim Johnson (b. 1988; Chicago, IL) is an interdisciplinary artist who lives and works in Detroit, MI. Johnson’s artwork concerns memory and its relationship to found objects. His work presents an uncanny world refracted through his own connection to the everyday. Johnson earned a BFA in Photography from Columbia College Chicago in 2012. Johnson’s exhibitions include Tranquilizer, A.D. Gallery, New York, 2021; The Housewarming, Dominic Palarchio, Detroit, MI, 2019; Correlation, Sergi Vutuc, Chicago, 2014; and Shaking Peter, Indianapolis, IN, 2015.

Viper’s Lick

Heavy as Heaven

Cameron A. Granger

5.14 — 7.9

Recollections of a home from childhood deny, challenge, and insist on narrative fidelity to a space that lives in our imagination. These visions, feelings, and interpretations shape the persons we have become in the absence of recalled effects (furnishings, wall decorations, the aromas of a favorite family meal) that constitute the environment in which we were cared for as children. Becoming adults, with lives of our own to build, these definitive memories contour our respective worldviews. We take individual experience for granted, even as the defining characteristics of the family home insist on relational coherence.

With Heavy as Heaven, artist Cameron A. Granger employs a fictionalized treatment of autobiography in a prismatic installation effort that is concentrated with familial love, community report, and social critique. Ostensibly, the story being told is about how a now haunted family house from his youth is being revisited. The protagonist (“Dom” the alter-ego of the artist) returns to this important location of his formative years to reevaluate his past, stabilize his present, and fortify himself for the future. There he finds himself engaged in an internal dialogue with the building, which vocally speaks but renders him lingually mute, only able to communicate with the house through thought. With this, we are presented with one of several delimiting conditions written into this spatial rendering of the artist’s meditation.

— Christopher Stackhouse

Cameron A. Granger (b. Cleveland, Ohio. 1993) Granger came up alongside his mother, Sandra, inheriting both her love of soul music, and habit of apologizing too much. A video artist, he uses his work as both a site for memory making, and as means to strategize new ways of remembrance in our age of mass media. He’s a 2017 alumni of the Skowhegan School of Painting & Sculpture and a current artist in residence at the Studio Museum in Harlem, NY

Starring

Shala Miller
Dom Deshawn
Hakim Callwood

Cinematography by Jeffery Grant

3D Animation by Jaylyn Quinn Glasper

Special thank you to Kendra Bryant, Okell Lee and Reg Zehner for their production assistance.

Insignificant Patch of Earth

Benedict Scheuer

3.11 — 4.29

THE GARDEN

written for Benedict Scheuer’s “insignificant patch of earth”

Two birds are in a forest, talking. I overheard them

and wrote down what they said.

Once there was a worm and it ate the whole world.

The world passed through its body and formed this path

where we now walk. This path is a line. The line is

the original form by which all living things take their speech.

I have a question, says one bird, What’s a line?

A line is the first dimension from which

all other dimensions spring. A line

is produced inside the self without much thinking.

What’s a dimension?

The space in which this poem takes place, little bird.

And what is the self?

The self is the collection of magnetic impulses inside a flower.

And what is thinking?

Thinking is what you do when you use your hands in the garden.

Moving along the path, wiggling, is a snake, made of snake things.

It goes about its day doing snake things.

And beneath the snake is the soil that has passed

through the worm. And insects with hard shells

and blind gnats and glossy red and black ants holding

treasures to take back to their queen.

Here is the mole that eats the insects. When asleep

in his burrow, he feels so safe he can dream.

And here is the white fungi, latticed, fibrous

that shepherds the water to the roots of trees.

Here are the silk lines the spider makes, and the line here

and the line here and the line where they intersect makes a crossroad

makes a web, the web is of the knowledge of her body,

which is a knowledge only she knows. She will pass it on:

Hanging from the underside of a leaf, her eggs nestle in a sac.

All of it is vibrating, the vibrating chatter of living

and dying things, buzzing like a bee,

and there are bees, heavy-headed and shaggy as buffalo,

darting through the garden with their panniers of pollen.

A flower is the calculation of internal genetics

looking for the best external configuration.

Dahlia, marigold, iris, chrysanthemum, milkweed

for the monarchs, who migrate south in winter. And

geranium, goldenrod, black-eyed susan. White trillium,

who knows good things come in threes. Petal, leaf, ravens.

It’s about to rain. Clouds scud low across the sky,

And the birds are speaking to each other

in a language I don’t understand. One

flies off; the other follows.

But before they go, one last question.

What’s in the sky?

Stars, even when we can’t see them.

Under the shelter of the tree the birds have left,

there’s space to keep dry. We’ll both fit.

Come,

Let’s go closer to the garden.

Exhibition Text by: Larissa Pham

Benedict Scheuer (b. Duluth, MN 1992) is an interdisciplinary artist whose work is informed by drawing, gardening, nature, belonging, and meditation. Central to his practice is a spirituality that champions sensation, the miracle of drawing a line, and the philosophy of interbeing—the interconnection of all things. He has a B.A. in Environmental Studies from Yale University (2014) and an MFA in Visual Art from The Ohio State University (2020). Scheuer has exhibited and performed throughout the United States at galleries including ACRE projects (Chicago, IL), the Wexner Center for the Arts (Columbus, OH), the United Theological Seminary (St. Paul, MN), and will be showing this summer at the Akron Art Museum in conjunction with FRONT International: Cleveland Triennial for Contemporary Art. He was recently awarded the Greater Columbus Arts Council Visual Fellowship which has generously supported the creation of his most recent work.

Scheuer currently resides in Columbus, OH where he is eager to begin another summer of dahlias in the garden.

THREE BETRAYALS

Catalina Ouyang

1.15 — 3.4

Individual Work Details

It is not easily taken by such as would do it, but recedes from their hands, nor will yield itself to be taken quietly, until either the urine of a woman, or her menstrual blood, be poured upon it; nay, even then it is certain death to those that touch it, unless any one take and hang the root itself down from his hand, and so carry it away. It may also be taken another way, without danger, which is this: they dig a trench quite round about it, till the hidden part of the root be very small, they then tie a dog to it, and when the dog tries hard to follow him that tied him, this root is easily plucked up, but the dog dies immediately, as if it were instead of the man that would take the plant away.

Is it possible that the relationship between humanity and evil is similar to the relationship between the ocean and an iceberg floating on its surface? Water, frigid, trickles from the skies, down the mountains into the salt of the earth: its various states not unlike our addictions, not unlike our identities, vast yet samely constituted.

You say it is angry.
I say it is like a kicked Madonna.
Its womb collapses, drunk with its fever.
We breathe in its fury.

Mother (4:35 PM): [grandma] is the
best [ ] . Never had
accident . Alway be gentle. She said
she needs to save the organ for them.
There are some doctors damages it
after [ ] . So the women couldn’t
have child any more

The soul is what has folds and is full of folds. The problem is not how to finish a fold, but how to continue it, to have it go through the ceiling, how to bring it to infinity. You are in a room with your someone—perhaps inside the womb of

someone—and you are so close that you trespass one another. Flesh folding into flesh, crevices savagely replicating. No details. In the face of erotic annihilation, the intensity of copresence renders your chamber preverbal, nonverbal; all ordering tools for structuring narrative are leveled. You are both trying to create knowledge, elucidate meaning, from the preemptive wound of a love that proclaims, “Everything will be okay. I’m right here. You’re okay.” Eternal lies fed to the dying.

“Don’t tell anyone you had an aunt. Your father does not want to hear her name. She has never been born.”

Mother (4:35 PM): unmarried
women couldn’t have abortion. So it
is all under table

The task of perception entails pulverizing the world, but also one of spiritualizing its dust. It had to do with knowing the thing I never asked to know. Being entreated, now, to propose a livid solution to a problem born horrifically teenaged. The issue was not the other lovers but the indignity of cosmic fungibility. Of simultaneity’s pitfall, of how God had not in fact chosen this particular universe as the best and most beautiful one, not for me anyway. What haunted the nocturnal etchings of the hands that have me idiotically trapped with the vengeful force of a wronged Venus?—not my eyes! The issue is power. The ordained beneficiary of God’s kiss.

Some man had commanded her to lie with him and be his secret evil.

Perhaps she had encountered him in the fields or on the mountain where the daughters-in-law collected fuel. Or perhaps he first noticed her in the marketplace.

Perhaps: what cannot be otherwise. Perhaps: what is indispensable. Consider the base, stripped needs of hunger, defecation. Sunlight. Air. Room to stand. And the embarrassment of ache for something as trifling, incomparable, irremediable, as the crumbling touch of eros. The pastel silhouette of a body you wish would stay, as it evaporates from your life and a secret enters instead.

Ms. Dog,
why is you evil?
It climbed into me.
It didn’t mean to.

Maybe my mother cut the God out of me
when I was two in my playpen.

Mother (5:02 PM): I don’t know.

The total energy of a system, however chaotic, remains constant. If chaos does not exist, it is because it is merely the bottom side of the great screen….

The spellbinding architecture of the forearm; understated grace of the radius. [The] vertigo and giddiness of minute and dark perceptions…where Sextus will rape and not rape Lucretia, where Caesar crosses and does not cross the Rubicon, where Fang kills, is killed, and neither kills nor is killed. ‘Pig.’ ‘Ghost.’ ‘Pig,’ they sobbed and scolded while they ruined our house. In the face of madness, rationality was powerless. And inversely, when we die, we fold infinitely upon ourselves; we return to the state of an animal until the bodily resurrection brings us to a second and final elevation. Is it not the truth, if the truth dies with the person who exits your world?

Mother (5:55 PM): We all knew

But perhaps my aunt, my forerunner, caught in a slow life, let dreams grow and fade and after some months or years went toward what persisted. Fear at the enormities of the forbidden kept her desires delicate, wire and bone. She looked at a man because she liked the way the hair was tucked behind his ears, or she liked the question-mark line of a long torso curving at the shoulder and straight at the hip. For warm eyes or a soft voice or a slow walk–that’s all–a few hairs, a line, a brightness, a sound, a pace, she gave up family.

“My God, what have I done in all these years?”

It’s easy to be led to the abyss.

— Catalina Ouyang, 2022

Texts

Apulei De medicaminibus herbarum liber I. (tr. George C. Druce)
Correspondence with Dorothy Carlos and Crystal J. Sasaki
Gilles Deleuze “The Fold” (tr. Tom Conley)
Maxine Hong Kingston The Woman Warrior
Cixin Liu The Three Body Problem
Anne Sexton “Is It True?” and “In Excelsis”

THREE BETRAYALS, an ongoing interdisciplinary project by New York- based artist Catalina Ouyang.

Catalina Ouyang’s work engages object-making, interdisciplinary environments, and time-based projects to indicate counternarratives around representation and self-definition. Ouyang’s work addresses how a subject orients in physical and sociopolitical space: what histories and discourses are inscribed on the body, how the body exists in contingency with architecture and bureaucratic structures. Through both expansion and fragmentation, Ouyang proposes the body as a politicized landscape subject to partition. Working gnostically with materials, ideas, and stories that over years they build relationships with, Ouyang also attends to critical reimaging of historical formation wherein monstrosity, animality, and toxicity act as ciphers for the psycho-affective alienation of the minor subject.

Recent solo exhibitions include Lyles & King, New York, US; Real Art Ways, Hartford, US; Knockdown Center, Queens, US; and Make Room, Los Angeles, US, with a solo exhibition forthcoming at Night Gallery, Los Angeles, US. Ouyang’s work has been included in group exhibitions at Housing, New York, US; Sculpture Center, Queens, US (curated by Katherine Simóne Reynolds); Nicodim, Los Angeles, US; François Ghebaly, Los Angeles, US (curated by Kelly Akashi); BRIC, Brooklyn, US; Helena Anrather, New York, US; Asia Art Center, Taipei; and more. Previous residencies include the Atlantic Center for the Arts, Smack Mellon, and Shandaken: Storm King. Their work will be included in forthcoming group exhibitions at The Aldrich Contemporary Art Museum and Jeffrey Deitch Gallery. Ouyang received an MFA from Yale University and is based in New York City. They are represented by Lyles & King, New York, and Make Room, Los Angeles.

Performers: Alice Chacon, Quinn Chen, Eloise Deluca, Crystal J. Sasaki

Choreography: Lu Yim and Eloise Deluca

Garments: Brandon Wen

Camera: Marit Liang

Correspondents: Dorothy Carlos and Crystal J. Sasaki

Research: Edwin L. Turner

Footage: Anne Sexton

This project was supported in part by: a Foundation for Contemporary Arts Emergency Grant.

End of a Dream, Forms of the Now Age

PUFFBALL RECIPE

one heaping spoonful of Earth

may have removed its outer core

to present a few anomalies for your viewing pleasure

though it questions transparency,

it actually blocks light out

as if i’m trying to feel sexual about the whole house

and the house begins its furious dancing

In this space,

I’m going to leave a burning star

in front of the window

Its function is a subject of debate

the salient feature

of inhabiting the forest floor

being that our edges

imbricate

it was plants

that kept me alive,

and animals that killed me

and yet this strange taxonomy

still did not suit me

-Manal Kara

Amelia Lockwood (b.1990, Stroudsburg, PA) received her BFA from Syracuse University (2012), completed postbaccalaureate studies at the University of Colorado (2016), and received her MFA from the University of California, Los Angeles (2020). Selected exhibitions include, Maia’s Pool, Various Small Fires, James Wright Gallery, In Lieu, One Trick Pony, and Five Car Garage Gallery in Los Angeles among others. Lockwood lives and works in Los Angeles, CA. Amelia’s Work

Andrew Cannon (b.1988, Redlands, CA) received his BA from the University of California, Los Angeles (2010), and attended the Mountain School of Arts in (2014), he received his MFA from Columbia University (2017). Selected exhibitions include Total Disbelief, Sculpture Center; Mushroom, Sardine, Brooklyn, NY (2020); (solo) Page Gallery, Ny, Ny (2019), Paradise, Night Gallery, LA, Ca, Harmless Exercise, Gildar Gallery, Denver,Co (2018), (solo) White Columns, NY, NY, Glass Catm, with Kate Hall, 67 Gallery, NY, NY, Flying Man, Revolved, Dread Lounge, LA, CA, Hot Mud, Jag PRojects, Hudson, NY (2017) Cannon Lives and Works in New York City.

ASMA is an artist duo based in Mexico City, formed by Matias Armendaris (b. 1990, Ecuador) and Hanya Beliá (b. 1994, México). The duo focuses on developing work produced exclusively through active collaboration. Their work uses open narratives and architectural spaces exploring formal interrelations between painterly and sculptural expressions. They explore the act of interaction and how things in contact affect one another. In this interrelation, things start erasing their boundaries and begin to fuse, playing with the potential of this process of transformation, both formally and conceptually. Recent solo exhibitions include Janus presented at Embajada (San Juan, Puerto Rico), 2020; Half Blood Princess, Peana, (Monterrey, Mexico), 2019; and Blossoming Carcass, Make Room Gallery (Los Angeles, USA), 2019. The duo also participated in multiple group exhibitions such as Trama, 80m2LiviaBenavides (Lima, Perú), 2021; Theorem X, Rachel Uffner Gallery (New York, USA), 2021; Theorem Y, Mrs. Gallery (New York, USA), 2021; You Sit in a Garden, Centre Clark (Montreal, Canada), 2021; and 44 Signs of The Time, Mana Contemporary (New Jersey, USA), 2021.

Joshua Culberson (Jensua) (b. Columbus, OH; 1989) earned his BFA from Columbus College of Art and Design (2012). Current group exhibition at CAL LUPER mobile art platform. Culberson lives and works in Los Angeles, CA.

Sacred Demon of Ungovernable Mischief

Chloe Seibert

8.7.21 – 9.7.21

Gallery A

Sacred Demon of Ungovernable Mischief is a presentation of new paintings and sculptures by Chloe Seibert. This body of work explores attempts made by the artist to release herself from shame, guilt, procrastination, and other emotional distractions trapped in our psyche via the productivity industrial-complex. The visual manifestations of said release take form as oversized Venetian masks and vignettes centered around cartoon dogs.

CHLOE SEIBERT (b. 1989, New York, New York) earned a BFA in 2011 from the School of the Art Institute of Chicago and studied at the Glasgow School of Art. Seibert’s artwork has been exhibited at Mickey (Chicago), Interstate Projects (Brooklyn), Karma International (Los Angeles), Thierry Goldberg (New York), Johannes Vogt (New York), Bahamas Biennale (Detroit), HQHQ (Portland), David Shelton Gallery (Dallas), Bodega (New York), Gallery Diet (Miami), Important Projects (Oakland), and Cooper Cole (Toronto). Seibert has also shown with Queer Thoughts at Eric Hussenot in Paris, France and at the Ukrainian Institute of Modern Art. Seibert currently lives and works in Queens NY. Recent group exhibitions in NYC include Jack Hanley Gallery and Sunny. Upcoming residencies include Hamtramck Ceramck in Detroit, MI.

Fertilizer

Shawn McBride

8.7.21 - 9.7.21

Gallery B

Shit, definitionally, is waste.

Yet nothing is more generative.

Life runs on shit like America runs on Dunkin’ like representations run on experience.

Shawn McBride (b. 1990; Ashland, OH)—he painted the paintings—says that “Fertilizer came from the idea of growth through shit.”

“Stupidity, rudeness, disappointments, and absurdities all influence me. I’m influenced by the ‘shit’ I go through and see on a daily basis. I enjoy seeing and hearing terrible, negative things.”

Perhaps one can smell something in the air. Sophie Friedman-Pappas’s current show Transfer Station at Alyssa Davis Gallery centers on Edward Bellamy-esque utopian proposals to collect all of New York City’s piss and use it to tan leather and ecologically breakdown buildings. One sculpture was made of urine-tanned sheepskin. At the opening a yellow-orange dust got on everyone’s clothing. Friedman-Pappas’s exhibition text ends with the following call to bladders and colons:

How could we put our collective shit to work? Once repurposed, perhaps waste could be the answer to a more just society, or in the very least, it could hold up a mirror to the absurdities of capitalism. You once read about human urine being utilized to tan leather in the Middle Ages. What if our city sewers could be repurposed into a functional leather tannery, and we could all benefit from the profits?

I like Friedman-Pappas’s conceptual thrust here, after all, I’m a communist. But I find McBride to be more honest:

“All we have are our lived experiences. There is nothing else going on. There’s no real theme to the show. The meaning is ’seeable.’ It’s strictly selfish and about painting. I love painting.”

During last year’s uprising—the real best summer of our lives—one could detect a spontaneous moratorium on the self-promotion of artists on social media. Suddenly, to call attention to one’s art was in bad taste, and most artists are nothing if not bourgeois when it comes to the observance of social propriety. But didn’t they know, like me, that the moral thing has always been to stop making art? Then Biden’s election signaled to these liberal careerists that all was clear for their flyers and Patreons, and now my feeds look as they did before the pandemic.

Artists and their confused attempts to figuratively or literally fix social problems through representations have never seemed so futile. If there’s redemption for art production, it’s aesthetic joy. It is “I love painting,” and it‘s “the meaning is ’seeable.’”

Though McBride told me he hoped the viewers would “feel disappointed,” that’s all I’ve ever really asked.

And anyways, if one wants to get serious, fertilizer makes bombs too.

Text by James Payne

Xylem & Phlöem

Xylem & Phlöem

5.15 – 7.2

THE GOOD NEWS ABOUT HELL

Suburbs are the perfect
habitat for deer. Jesus said

they make the dumb
tongues of men sing.
Their antlers branch

until the leaves fall off
and the earth gives up
its privates. Around my head
the background blurs.

I’m waiting for a storm to end
in a Styrofoam grotto
outside the catholic church on Tower Rd.
For some reason, god has

imprinted us with a desire
for divinity that is awakened
within cave-like structures. I’ve heard that

to reach enlightenment,
all you have to do is touch the earth.
God as lakes.

Once, I held an injured bat. Intimacy
is sharing something private. Saint Jeremiah complained,
but only after being ridiculed for an entire day.

Later, he would prove his faith by purchasing
a plot of land outside the city.

Dante and Virgil walked through rain
to touch the future.

My cats hide inside the closet
to avoid the vacuum.

We’re pretty sure an exit does exist.
But the ocean is more knowable than
what comes next. I focus

on the sound of water. All my friends
are waiting for me

to slip, laments Saint Jeremiah. No wonder
he was so ashamed of what he saw. Neon

loosening the night. Like every reason is
an un-reason. You know

the love that eats?
The love you eat from?

It burns through you
Like the lord himself. Heaven
Is whatever
death that lasts
forever.

- Elaine Kahn

BIO

Manal Kara is a Moroccan-American self-taught interdisciplinary artist. Their work has been exhibited extensively in Chicago and New York as well as in Istanbul, Vienna, and Berlin. Recent solo exhibitions include THE VIEWING-ROOM VS. THE ADORING-GAZE, Interstate Projects, Brooklyn, NY, and Song of the Other Worm, Prairie, Chicago, IL. They have participated in residencies at ACRE, Ox-Bow, September Spring at the Kesey Farm, and Project Freewill. Upcoming solo exhibitions include Super Dutchess, New York, NY; Shulamit Nazarian, Los Angeles, CA; and Hair + Nails, Minneapolis, MN.

The Devil’s Bathtub

The Devil’s Bathtub

4.10.21—5.10.21

You can hear it before it’s seen

after a heavy rain’s

quiet rhythmic lapping grows

toward the corridor, its echoing

Water follows, elucidating

with its arrival of spring

ephemerals, remembering

and filling the basin beneath

inward turning and chasing the tail

an unending procession

descending the devil’s bathtub

—

Text by: Emma Levesque-Schaefer

BIOS

Jenna Beasley (b. 1987, Terre Haute, IN) is a visual artist living and working in Queens, NY. She holds a BFA in Painting from Indiana University and recently completed her MFA in Studio Art from Hunter College. Beasley has exhibited at 205 Hudson Gallery, New York; NO Foundation, Toronto; Winston Wachter Gallery, New York; 3434 Gallery, Brooklyn, NY; and Always Fresh, New York.

—

Ross Caliendo (b. 1988) Pittsburgh, PA, is a visual artist living and working in Los Angeles, CA. Caliendo has recently exhibited at Penske Projects, Montecito, CA; Phil Gallery, Los Angeles, CA; Fisher Parrish Gallery, New York, NY; Blum & Poe, Los Angeles, CA; and Night Gallery, Los Angeles, CA. Caliendo has an upcoming show at GrifterSpace in New York, NY. His press includes: Wall Street International, Arazi Club Magazine, and New American Paintings

—

Hyun Jung (b. 1989) is a Korean artist whose installations are measures and meditations which take up more time than they do space. Working with commonplace commodities such as candles, bread, wooden structures, sewn and painted wearables, Jun’s work borrows from familiar, domestic language to describe and search the ornate identities of our individuality and culture. Jun received her BFA at School of the Art Institute of Chicago and an MFA in Art Theory and Practice at Northwestern University. Her recent exhibitions include LVL3, the Gaylord & Dorothy Donnelly Foundation, No Place Gallery, Hans Gallery, The Drawing Room at Arts Club of Chicago, Good Naked, and Everybody. Her work has recently been featured in the New York Times and Newcity Magazine. Jun is one of Newcity’s breakout artists for 2021 (Chicago).

—

Tyler Macko (b. 1989) Is a Visual Artist born in Dayton, OH where he Currently Lives and Works. Macko has exhibited in Los Angeles, CA with The Pit (2018), Phill Gallery (2017), and Robert Louis Gallery, Dayton, OH (2017). @tmtylertm

—

Ben Quinn (b.1991)Dayton, OH, is an artist living and working in Los Angeles, CA. He received a BFA from Columbus College of Art and Design, and MFA from California College of the Arts in 2016. Recent solo exhibitions include Fused Space in San Francisco, Littman Gallery at Portland State University, and Pt.2 in Oakland. Quinn has also collaborated with Acne Studios in the 2020 and in 2021 released a series of painted garments, bags, and an installation in their Hollywood Los Angeles location.

—

Paul Simmons (b. 1976, Naperville, IL) is a visual artist living and working in Chicago, IL. Simmons has been shown recently at Marquee Projects, Bellport, NY, Curious Matter, Jersey City, NJ, Left Field Gallery, San Luis Obispo, CA, and Sluice Art Fair in London, UK with The Dorado Project. In 2021 he began working on Xero_Index, an ongoing xerographic based image project that rebuilds the pedagogical structures of art history to incorporate the low tech visual language of the photocopy with his own personal histories. Simmons received his BFA from the School of The Art Institute of Chicago and an MFA from The Ohio State University. Currently he lives and works in Washington, DC where he is a Professorial Lecturer in The Department of Art at American University.

—

Nicholas Sullivan (b. 1987) is an artist living and working in Brooklyn, NY. Sullivan earned his M.F.A. in Sculpture from Massachusetts College of Art and Design, Boston, MA, and his B.F.A. in Sculpture from the University of Massachusetts Amherst, Amherst, MA. Recent exhibitions include; Domino, Shoot The Lobster, New York, NY; Comfort Animal, A-L Gallery, Seoul SK; The Pit Presents: Step Sister, The Pit, Los Angeles CA, Neu, No Place Gallery, Columbus OH, ; The World Without Us, Brennan & Griffin, New York NY; Gist & Gesture, Kavi Gupta, Chicago, IL; Foster Prize Exhibition, Institute of Contemporary Art, Boston, MA

—

Chloe West (b. 1993) Cheyenne, WY, is a visual artist currently living in St. Louis, MO. West earned her MFA from Washington University in St. Louis in 2017 and her BFA from the University of Wyoming in 2015. West’s work has been exhibited in solo and group shows at Projects+Gallery (St. Louis), Monaco (St. Louis), Practise (Oak Park, IL), GCADD (Granite City, IL), and Millitzer Gallery (St. Louis). West is the recipient of the Director’s Fellowship at Sam Fox School of Design & Visual Arts at Washington University (2017-18) and has been featured in Booooooom.

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Benjamin Willis (b. 1991) Columbus, OH, is an artist living and working in Columbus, Ohio. Willis’ work consists of primarily lens-based material that interweave sociology, philosophy, and anthropology. He aims to show the deep love and interconnectedness of life in the city he is from, as a black photographer he believes it is imperative to participate in making the work about his community from his perspective.

Willis is a graduate of Otterbein University where he received a Bachelor’s of Arts in Painting and Drawing, as well as a Bachelor’s of Arts in Philosophy. He was recently named a GCAC Art Unites CBus award recipient, and is a featured artist for the Apple Inc. Hometown Series.

—

Jon Young (b. 1981) Winston Salem, NC, is a visual artist currently living and working in St. Louis, Missouri. He attended the University of Wyoming (BFA, 2014) and the Sam Fox School of Design and Visual Art at Washington University in St. Louis (MFA, 2018) where he completed a Directors Fellowship (Fellow, 2019) Young has recently exhibited at the University of Missouri, Saint Louis; Martha’s Contemporary, Austin; LCCC, Cheyenne WY; and GCADD, Granit City IL. He received a Lighton International Artist Exchange Program grant for his first international solo exhibition with J. Hammond Projects in London (2020) and has work in upcoming exhibitions including The Hole in New York, NY and Carl Kostyál in Stockholm, Sweden.

—

Martin Hugo (b. 1982) Bexley, OH, is a visual artist and designer currently living and working in Los angeles, CA. He attended the Columbus College of Art and Design (BFA in advertising and graphic design, 2004) Hugo has recently exhibited at the Art Acadmey of Cincinnati, Cincinnati, Ohio and No place Gallery, Columbus, Ohio. Hugo’s Client recent client list includes Marc Jacobs, Camp high, Anine Bing,R13,Abercrombie and Fitch, And American Eagle

In the Morning the Night Kisses the Day Goodbye

ROSS CALIENDO

11.13.20 - 1.13.21

Beyond the Apple and Lemon Trees

Ross Caliendo’s In the Morning The Night Kisses The Day Goodbye suggests an encounter that relies upon the mirroring of opposites and the narrativizing of a specific moment in time. In this case, the morning is paradoxically defined by the activities of the night.

The ambiguous glow of nighttime or a hazy early morning pervade Caliendo’s pictures. We are presented with this spectral gleam in paintings that make use of conventional landscape motifs such as trees, bodies of water, rocks, mountains, and cliffs. This, of course, is nothing more than a foil to Caliendo’s consistent attention to the peripheral. He revisits, with great patience, any manner of detail or surface texture that would be ordinarily considered secondary—cast-off brush, scrub, knobbled branches, cracks between stone paths or walls, and other remnants of nature.

In Caliendo’s hands, these adjacencies are seized upon within the composition and treated as grand vistas. The extravagance sneaks up on us in each of these paintings. The surprises are conveyed through impossible contrast (which appears as if it were reflected in a twisted tendril of car bumper), gradients, outlines, and color. Acid yellows, radioactive greens, and unearthly blues collide in an otherwise softened palette of browns and fleshy pinks. This coloration veers ever so carefully into Fauvist palettes with glimmers of Munch or even slap-dash touches of William Hawkins, but this largely remains refreshingly indeterminate.

The object in all of these pictures, whether it be a tree stump or a heap of broken twigs, is rendered as if it were splintered. If you can imagine the peeling bark of a birch tree that has fallen and is subsequently trampled underfoot into small linear pieces, you can easily compare that to the depictions of Caliendo’s subjects. They are like boa constrictors slowly wiggling out of their skin or a membrane film of algae brimming on the surface of a pond. Perhaps this peeling away is a form of reflection or trace, but it is never employed uniformly, it never happens in the same way twice.

Each painting displays an eerie frontality. There is a sense that either everything in the picture is toppling forward or that everything is slanted to one side or another. (Picture Duccio or Sassetta). This adds to the off-kilter feeling in these images and transmits the notion that we can pry these spaces open to reach into some kind of beyond. The conceit is that psychic space somehow crash-landed in the physical world.

The morning, day, and night all seem to possess a memory of a feeling, just as these objects of nature hold an inner life. But let’s not ignore the fact that landscape is merely a jumping-off point for painterly play, tomfoolery, and undeniable wit. Each offering an enthusiastic suplex to the sublime. Caliendo clearly revels in the nuts and bolts of putting a picture together, especially if it feels like it just may be on the verge of collapse.

-Brian Scott Campbell

rosscaliendo.com

Outer Heaven

10.10.20 – 11.10.20

I VENTURE TO SAY
THAT YOU HAVE NOT KNOWN HEAVEN
BECAUSE YOU BELIEVE IT IS OUTSIDE OF YOURSELF

or perhaps believe it is a moment of bliss with which ignorance is a close neighbor There’s nothing new under the sun yet your ignorance still baffles me. you still take time
the fleeting kind
you still my mind
…deafening vibes.

Once the bud of exploration begins to open will you breathe heavy laborious breath wishing it to look like others
will you watch it open in daylight resting at midnight as you smoke,drink, parade, and talk about it.
You have the answer but you assume it is the all-knowing kind.
Fair, for a know-it-all
Unfit for us others.

In the authority that takes place in your heart
are you as afraid of yourself
as you are authority in uniform.
what begs someone to do their job even though no one likes them from distance, in uniform.
the line between doing your job and doing the most
is barely fine.
However when those lines are blended with denial and absence of true self
serpent-like mating balls of tension and angst are bound to stop intrinsic motion.

Can you believe in the day though you only wake for night
will you wake for daylight
the way you do for the restroom
specific, purposeful,
erect,pulsating,needing to release excess in order to be at peace with internal comfort.
upon returning to bed, are you
appreciative, aware, open, and blank.

Text by: MARCUSMARCUS

Hamtramck Ceramck is an artist collective and curatorial project with active contributing members Braden Baer (b. 1991), Amber Codiñera Locke (b. 1989), and Benjamin Kenjiro Saginaw (b. 1988). Founded in 2015, Hamtramck Ceramck utilizes ceramics as a vehicle for collaboration. Their work has been exhibited at Interstate Projects (NY), Bahamas Biennale (DET), and The Pit (LA). hamtramckceramck.com

THE PITBULLS GARDEN

^^^ CLICK IMAGE TO ENTER ^^^

USE KEYS TO MOVE

USE MOUSE TO VIEW

9/23 - 10/3 2020

Bora Akinciturk
Ben Quinn
Hyun Jung
Alake Schilling
Cory Papalardo
Jake Kent

Clipping

The underbelly of a rendered world holds mostly emptiness. What keeps the body afloat is a single plane, a string of yeses repeated over and over, a series of on/off switches creating the illusion of solid ground. Occasionally, vestigial renders remain in the final consumer-ready game. They stand as rare accumulations in a largely vacant world, hidden intentionally or not.

In the video Off Camera Secrets, Dark Souls III, Boundary Break by Shesez, we immediately behold the figure of the Firekeeper, an npc inserted as a waystation, an animated visual device for the game’s level-up mechanic. Her eyes are hidden in a silvery adornment, part blindfold, part crown. Shesez moves the camera closer and says,

“...whenever a character’s face is hidden in any game, it drives me crazy. I need to know whether or not they have a face underneath. And most of the time the answer is no….”

He navigates closer until the surface of the blindfold gives way revealing two fully-rendered eyes. As he attempts to move closer still, the nose vanishes and the hollow interior of the character is exposed. He plays at the border of her skin, passing through it slowly at various angles. We watch the eyes jump in and out of the frame with the waltz of her idling animation, her shallow breaths bending her strangely at the waist.

Boundary Break tends not to marvel at the novelty of breaking the boundary and instead searches for the refuse stashed behind the veneer. In this case, Shesez is seen doing both simultaneously. To view the eyes of the Firekeeper, he passes through most of the face, leaving her cavernous, exposing the myth of her wholeness. But buried within, never to be seen by pedestrian players, the eyes serve as a momentary illusion of completeness, giving her a sudden aura of sentience outside of her fixed gestures, her rote dialogue.

Eldritch Truth

Imagine a long corridor slowly filling with water

Snake dreams keep me awake, holding a cup between two hands that meld into claws the second I looked away.

Imagine a number so large it ends the world

I start to move the way certain chemicals burn, leaving behind the snakeskin of some reaction, spiraling inward.

This concludes the guided meditation

To be stifled by a dream, to be captured by it, to hide inside like an egg swallowed whole, body within a body.

Please insert disc two

Closeup male self hand massage isolated green screen

One hand holds the other, rubbing the palm rhythmically with intention. $3.99

Smart Water

At a funeral, you receive an email.

“Subject: The Ripest Orange.
I ate it.”

You close it then open it again.

“The Ripest Orange.”

You catch the priest pouring Smart Water in the holy water bowls.

“I ate it.”

Refreshing the window, you wait for a follow-up email. Nothing comes through.

You’re morose enough to respond:

“Re: The Ripest Orange
Did you.”

The water splashes on the tile. Someone coughs from the rectory. You imagine the water speaking like an Alexa, and the way your grandma would yell at it, the way she would clutch a rosary to herself. “Play Bach’s Cello Suite,” and on cue the music begins, the congregation stands, discreetly you open the phone again.

“Re:Re: The Ripest Orange
Having another one right now.”
Attachment: IMG_44823.jpg

High_Elves_trapped_and_outnumbered_but_we_won%27t_die_today.jpg

Wikipedia’s definition of a Composite Image contains a photomontage using four separate images; a mountainous landscape and three images of the same cosplay artist dressed in “high elf attire” holding a bow and arrow at differing angles. The photos of the cosplayer show her in sharp relief, a flash was used, and her bow’s shadow partially obscures her face. She is seen at various scales, all superhuman in size. The towering cosplayer smiles at the camera. She might be thinking, “I could be anywhere, a forest, a meadow, but I am here, standing on tradeshow carpet at a hotel in Philadelphia.” The artist responsible for the photomontage might have thought, “You belong in the mountains. You are fifteen stories tall. High Elves trapped and outnumbered but we won%27t die today.”

Headcanon

Touching the screen, he imagined you flying to earth like a meteor.

He sent ten unanswered texts, one of them was graphic.

Then, a photo of a quickly drawn battleaxe dripping with something.

He touched the screen again and closed his eyes as you plunged through the atmosphere.

Hurry the mods are sleeping

Post pictures from middle school, post pictures from space, tell everyone the real reason you logged on tonight. Find that quote about the stones crying out, delete your search history again, sigh deeply, rewatch a compilation video of Adam Scott in that 90s movie, type furiously into the notes app making liberal use of the return key.

“The
very

stones

would
cry out!”

Text by: Kara Güt

Bora Akinciturk (b. 1982, Ankara, Turkey). Lives and works in London. Akinciturk holds a BFA in Graphic Design, Yeditepe University, Istanbul, 2007; Fine Art Postgraduate studies at Middlesex University, London, 2008. Selected exhibitions include (applause), Pilevneli Gallery, Istanbul, Turkey, 2019; SKEE, in collaboration with Iain Ball, narrative projects, London, UK, 2019; Egg Punk Karaoke, 427, Riga, Latvia, 2018; VIBRANT MATURITY® 7+ ADULT SHOW, in collaboration with Ville Kallio, Futura, Prague, The Czech Republic, Keep Smiling is The Art of Living, Alyssa Davis Gallery, New York, USA, 2017; We’re All Dead, We Just Don’t Know It Yet, Ultrastudio, Pescara, Italy, 2017; Fallen Angels, in collaboration with Noemi Merca, Komplot, Brussels, Belgium, 2017. His band Fino Blendax, in collaboration with Ahmet Öğüt at: The ICA, London; Chisenhale Gallery, London; VanAbbe Museum, Eindhoven; The 56th Venice Biennale, Creative Time Summit: The Night Art Made the Future Visible 2015.

Ben Quinn (b.1991 Dayton, OH) is an artist living and working in Los Angeles, CA. He received a BFA from Columbus College of Art and Design and MFA from California College of the Arts in 2016. Recent solo exhibitions include Pt. 2 Gallery in Oakland, Cloaca Projects and Fused Space in San Francisco, Littman Gallery at Portland State University. Quinn’s work deals mostly with post-psychedelic reflection and sensitivities to the supernatural through painting, sometimes accompanied by image and sound.

Hyun Jung Jun (b. 1989 Seoul, South Korea ) Jun is an artist whose installations are measures and meditations which take up more time than they do space. Often existing as collections of assorted gestures in a variety of mediums, Jun’s work embellishes and elaborates on the chaotic monotony of everyday life and its frequent friction with the fantasies and daydreams that dance between the gaps of passing time. Working with commonplace commodities such as candles, bread, sewn and painted wearables, Jun’s work borrows from familiar, domestic language to describe and search the ornate identities of our individuality and culture. She received her BFA at School of the Art Institute of Chicago in 2014 and an MFA in Art Theory and Practice at Northwestern University in 2019. She has participated in a number of artist residencies such as the Vermont Studio Center and Alchemy in rural Canada and has worked directly with a number of artists and galleries in Chicago over the years. She has two upcoming two-person shows at LVL3 and HG Inn this fall.

Cory Pappalardo (b. 1989 Andrews Airforce Base, Maryland ) is an intuitive anarch living and working in Olympia, Washington.

Makes magick mullein candles

has lots of books

saves seeds

Alake Schilling (b. 1993 Los Angeles, CA) is an artist living and working in Los Angeles, CA. Schilling has shown at No Place Gallery, Columbus, OH, Maitland Foley, Los Angeles, CA , Go Away Road curated by Adrienne Rubenstein, Loyal, Stockholm, Sweden, Dirty Protest: Selections from the Hammer Contemporary Collection, Hammer Museum, Los Angeles, CA, New Acquisitions, Rubell Family Collection, Miami, FLBody, Curtain, Advance, Loyal, StockholmFun House, Josh Lilley Gallery, London, England, ALAC Art fair, Club Pro, Los Angeles, CA, Group Exhibition, BBQLA, Los Angeles, CA, Group Exhibition, Club Pro, Los Angeles, CA, Group Exhibition, Steve Turner, Los Angeles, CA, Group Show, Unclebrother, Hancock, NY, MECA Art Fair, 356 Mission, San Juan, Puerto Rico,

Jake Kent (b. 1990) is an artist working between rural Staffordshire and Berlin. He graduated from Nottingham Trent University with a degree in Fine Art in 2014 and completed a year of study with The School of the Damned (an alternative art-education experiment initiated in response to rising tuition fees) in 2016. Since 2012 he has been involved in artist led spaces, namely Triple O.G. Gallery and Publishers (2012-14) and Losers Gym (2016-17).

His work is an amalgamation of his interests in current and historical attempts to live differently. Stemming from a teenage passion for and continued involvement in punk music, which led to an introduction to Europe’s remaining squat scene, combined with current socio-political theories he creates artworks that exist in speculative futures. These works sit on the fence between artwork and functional objects. Calendars, candle holders, rugs and puppets all exist in often post-apocalyptic, future-fictions in an attempt to embody an art/object maker whose knowledge or memory of capitalism, technique and art history is vague, manipulated or non-existent.

Larry Farmer

07.25.2020 - 09.25.2020

TYLER MACKO

“Those iron trees and I are the same” - Leonard Knight, creator of Salvation Mountain

heirlooms imbibed in oil

small cross of chicken bone

wedded to the work of vision

the ferric hand softens
to the skin of an orange

possessed for a time

with a sense of animism

radiant splashes of light

thrown down on orchards

and beneath this scarecrow

another scarecrow

smaller in stature but

no less real

in its lilting song

that catches and snags on the breeze

-Willie Young

Where Does the Sun Go at Night?

05.23.2020 – 07.04.2020

Clair Morey

The world turns one thousand miles per hour, but seems to lay still. The sun’s left on its commute, gone elsewhere to work its day job, bathing some distant place with its loving tendrils. Anxieties weave inside of me as our world yields to rapid changes. The moon appears and begins to extract my struggles with feelings, with people, with the boring daily minutiae I’ve yet to experience, and with the memories of places I’ve been, to which I’ll never return. I envision them with the sun there at this very moment.

I once again form an escape, descending deeper and further away from reality. The heaviness of my eyelids becomes more apparent. I find comfort in the choreographed pixels of screens, the neon dystopia of a Sci-Fi film from the 80s. Their facade distracts my mind and I return to a simpler time of karmic ideologies, good and bad.

My internal clock sounds before the one beside me on my nightstand. The tree outside my window is projected through the colored curtain onto the inside of my room. The sun has returned.

Written by: Noah Markoe & Sam Branden

Clair Morey (B. 1992, Columbus, OH) received her BFA from Columbus College of Art & Design and is an MFA candidate at Miami University. Morey has exhibited at A.D. (New York), At Large Gallery (Brooklyn), Space Heater Gallery (Brooklyn), OSU Urban Arts Space (Columbus), and previously showed at No Place Gallery in 2017. Morey’s work has been included in Hiss Magazine, ARTnews, O Fluxo, and Tzvetnik. Morey currently lives and works in Oxford, Ohio. clairmorey.net/painting

Pure Hell

01.10.20–02.29.20

Jacob Mason-Macklin

PURE HELL grows from a place of frustration and desire. Drawing influence from the growls of Raw Power and the howls of Soul Brother No. 1, spirited portraits of Street-Stompers twist N’ shout looking for a release. Inside PURE HELL the figures are off the dog collar with a bone to pick. Flesh transforms into masks adorned with war paint and threads are razor sharp. The Night-Prowlers are dressed to kill. Paint runs like an out-of-tune solo; a last-ditch frenzy caked on like cheap make-up. Brushstrokes animate the monkey on the back and record the unscratchable itch. Underneath PURE HELL is an urge to unleash. The house has burned down and what’s lying beneath the ash is waiting around the corner.

Jacob Mason-Macklin (b. 1995) is a visual artist born in Columbus, OH currently living in New York City. Mason-Macklin has exhibited in New York City with Jeffrey Stark Gallery (2017) and The Swiss Institute (2019), as well as a solo exhibition in Ferguson, MO with The Bermuda Project (2019). His work is included in the permanent archives at the Schomburg Center for Research in Black Culture in New York City and the Langston Hughes Libraryin Corona, New York (2019). Mason-Macklin is a 2019 Alumni of the Skowhegan School of Painting and Sculpture and a 2016 fellow of the Yale-Norfolk Summer School of Art.

@mixedpaint

Dog & Pony

10.26.19—12.26.19

Morgan Mandalay | Chloe Seibert

MORGAN MANDALAY (b.1985, California, US) earned his BFA in 2012 from the School of the Art Institute of Chicago, his MFA from the University of California San Diego in 2017, and he studied at the San Francisco Art Institute. Mandalay has had solo exhibitions at BWSMX (Mexico City), City Limits (Oakland), Helmuth Projects (San Diego), and LVL3 (Chicago). Mandalay has shown in group exhibitions at Bahamas Biennale (Detroit), Flag Foundation (New York City), Et. Al (San Francisco), the Museum of Contemporary Art, San Diego, David B. Smith Gallery (Denver), Kimberly Klark (Queens), and Deslave (Tijuana). Mandalay was the director of SPF15, a beach-based curatorial project that was based in San Diego, CA. Mandalay is represented by Yautepec in Mexico City, MX.

morganmandalay.com
IG: @morganmandalay

CHLOE SEIBERT (b. 1989, New York, US) earned her BFA in 2011 from the School of the Art Institute of Chicago and studied at the Glasgow School of Art. Seibert’s artwork has been exhibited at MICKEY (Chicago), Interstate Projects (Brooklyn), Karma International (Los Angeles), Thierry Goldberg (New York), Johannes Vogt (New York), Bahamas Bienniale (Detroit), HQHQ (Portland), David Shelton Gallery (Dallas), Bodega (New York), Gallery Diet (Miami), Important Projects (Oakland), and Cooper Cole (Toronto). Seibert has also shown with Queer Thoughts at Eric Hussenot in Paris, France, and at the Ukrainian Institute of Modern Art. Seibert currently lives and works in Queens, NY.

IG: @ccchhhllloooeee89

A Swamp Tale

Greg Ito

No Place Gallery is pleased to present A Swamp Tale , a solo exhibition by Los Angeles-based artist Greg Ito. Ito builds his own world in A Swamp Tale with paintings, sculpture, lighting, sound, and installation. Upon entering the gallery, the viewer is transported into Ito’s world, one in which clues like an offset candlestick, a message in a bottle, or a slithering snake reminiscent of the one on the cover of Joan Didion’s Play It As It Lays all point to a larger narrative to unpack. These evocative genre symbols are rendered in Ito’s distinctive ligne claire style and purple, blue, pink, black, and orange palette. Like a dream, the swamp is a space where the past, present, and future collapse into a bog of our mired hopes, fears, accomplishments, and failures. Join us on a journey that navigates these and the murky perils of love, loneliness, magic, and reality.

Greg Ito (b. 1987, Los Angeles) is a Japanese American artist living and working in Los Angeles, California. Ito has recently exhibited at Arsenal Contemporary, Toronto; Andrew Rafacz, Chicago; Et al., San Francisco; Jeffrey Deitch, New York; Shulamit Nazarian, Los Angeles; Steve Turner, Los Angeles; and Mon Cheri in Brussels. A current exhibition is running at the Drake Hotel in Toronto. Ito’s upcoming exhibitions include Penske Projects, Los Angeles; Division Gallery, Montreal; Ochi Projects, Idaho; Smart Objects, Los Angeles; and Weiden + Kennedy in Portland, OR. His recent press includes write-ups in Art Forum , the Los Angeles Times , LA Weekly , CARLA , AUTRE , Amadeus Magazine , LALA Magazine , C Magazine , Los Angeles Magazine , MOUSSE , Libertine Dune Japan , and San Francisco Chronicle .

A Swamp Tale is curated by James McDevitt-Stredney.

Exiled Parts

Jennifer Sullivan

“Exiled Parts” refers to the parts of the psyche we deem unacceptable—the realm of so-called negative emotions. The phrase also announces my return to using source material, in this case, stills taken from horror films. The horror genre is an imaginary where women’s roles are allowed to drastically diverge: women in horror may be victims, final girls, or monstrously empowered. These women are often the subject of the genre’s motif of transformation, like in Brian De Palma’s Carrie (1976), which relates the story of a timid high school girl, who, upon having her first period, discovers her telekinetic powers, which eventually consume her peers, her mother, and herself.

Filmic depictions of horror mirror the fearful and fictitious projections of our minds. Horror is a way to inhabit and amplify the different roles and archetypes with which I have sometimes identified. I still paint from the vantage point of a video and performance artist, so my paintings use affective information like specific body languages, facial expressions, and costuming details to show stories. I find painting to be akin to method acting; I draw on charged emotional memories to give them form and figuration. In this way, the “parts” of the title can also refer to the various parts we play in our lives.

Beyond the appropriated film stills, Exiled Parts includes more directly autobiographical images—self-portraits in the form of mirror selfies. These paintings act as moments of self- reflection that prioritize the female gaze. By showing a woman as she is looking at herself, the painting becomes a looped psychoanalytic process for both the artist and the viewer, interrupting our dominant culture’s usual mode of gendered reception.

Biography

Jennifer Sullivan lives in New York and works in painting, video, and performance. Recent solo exhibitions include Stretch Marks at Real Estate Fine Art, Brooklyn, NY, (2018) and the soft animal of your body at Five Car Garage, Los Angeles, CA (2018). Sullivan has shown at Marinaro, Brennan and Griffin, Rod Barton, Marvin Gardens, Safe Gallery, Pablo’s Birthday, 247365, Klaus Von Nichtsaggend, and the deCordova Museum. Her awards include a fellowship at the Fine Arts Work Center, and residencies at the Lighthouse Works, Skowhegan, Ox-Bow, and Yaddo. Sullivan’s artwork has been reviewed in the NY Times, the Brooklyn Rail, Artforum, and Art Papers, and her videos are included in the Geisel Library collection at the University of California in San Diego. Sullivan is represented by Five Car Garage in Los Angeles, CA.

jennifersullvan.org

10 Paces

Jon Young

February 2 - March 15

The artwork of Jon Young (b.1981, US) is about the development of language and signage. Young’s wood, sand, and fabric sculptures, which he calls “waymarks,” use historical symbols taken from Paleolithic cave paintings, Greek pottery, and even the line in the sand from Hollywood Westerns and Looney Tunes cartoons. Through his use of the popular imagery of the US West, Young grounds his waymarks in the histories and mythologies of the frontier, an ideological concept popularized by the historian Frederick Jackson Turner, which has signified both European opportunity and indigenous genocide. Reflecting this dual nature of the US West, Young’s work is informed both by his nomadic childhood in a constantly uprooted US military family and by the cultural displacement of his Native American heritage.

In Young’s current body of work, Waymark Margins, iridescent fabric recalls the irradiation of nuclear testing sites in the West while visually performing like the hallucinations one experiences in a desert: visible, yet elusive, like a hologram. These pieces flicker, shift, and move like op-art as the viewer orients themselves to the work. In that they are never perceived in exactly the same way by any two individuals in the gallery at the same time, our viewing relationships to these waymarks mimic our idiosyncratic individual relationships to grand historic narratives.

Like Jacques Derrida’s critique that semiotic signs simply defer meaning, that signs can only point to other signs, Young’s work at first seems to offer easily understood archetypal imagery, but, on second glance, these icons shed all commitment to an inherent shared message. Instead of semiotically, we must instead experience these waymarks phenomenologically, adjusting ourselves to them, rather than having them point out to us a way to a transcendent meaning. Young repeats his disorientating waymarks to prompt the viewer to reconsider their own place within the mirage of history’s received meanings.

Biography

Jon Young was born in Winston Salem, NC (1981). A tribal member of the Catawba Indian Nation in Rock Hill, South Carolina, Young now lives and works in St. Louis, Missouri. He earned his BFA from the University of Wyoming and his MFA at the Sam Fox School of Design and Visual Art at Washington University in St. Louis, where he is currently working as a Director’s Fellow.

jon-young.com

Mis Momentos Literarios

Fernando Pintado

November 24 - December 22

Pintado, born in San Juan, Puerto Rico, in 1982, lives and works in New York City. Pintado’s exhibition Mis Momentos Literarios , the title of which is taken from a Puerto Rican literature textbook, is part of a cycle of his site-specific painting installations. The unstretched paintings that compose these installations are mounted in overlapping layers to the gallery’s walls. These layers of Pintado’s paintings create narrow, hollow spaces that intertwine to produce new works of their own. But each of Pintado’s installations also draw on a common, personal iconography: fishbowls, libraries, flowers, and stacks of paper impart pasts, presents, and futures held still like a picture but seen to be in an uncontrollable flux.

Pintado’s solo exhibitions have been presented at La Productora, San Juan, PR (2015); Chemi Room, San Juan, PR (2012); Roberto Paradise, San Juan, PR (2011). Notable group exhibitions include Fresh Window Gallery, Brooklyn, NY (2017); Josh Lilley Gallery, London (2012); Nuevo Museo Energía de Arte Contemporáneo Buenos Aires, Argentina (2011). Pintado’s residencies include the Vermont Studio Center (2015); and he has been the recipient of the Charles G. Shaw Award Saul Lyons Memorial Scholarship, Brooklyn College, Brooklyn, NY (2013). His work is held in notable collections, including the Peggy Cooper Cafritz Collection, Washington, D.C.; Donald Baechler Collection, New York, NY; and the César and Mima Reyes Collection, San Juan, PR.

fernandopintado.com

The Lights Are On

ALBERT GRAY

AUGUST 17 – SEPT 15

Albert Gray (b. 1983, Connecticut) is an artist living and working in Columbus, OH. After receiving a BFA from Montserrat College of Art (2008) he has shown work in the US and abroad including Able Baker Contemporary (Portland, ME), CASTLEDRONE (Boston, MA), SMARTOBJECTS Landers (Landers, CA), and Galerie Kleindienst (Leipzig, Germany).

I love the double take. Something vague, plain, or mundane is at once tranquil and uneasy—that’s what I’m into. If it doesn’t exist on that plane in the original moment, it likely ends up there as a painting. Head like a house, internal and external functions. I’m not going to pretend to be an alien but I am. Boredom does not exist. The shells and open spaces of the human world. The lights are on but it doesn’t matter if anyone is home because home is layered and evasive in the first place. The smell of chlorine, plywood over the windows; sweet something and sweet nothing. Phantom abundance in the dull periphery of every day. Desolation angles. Expression engines in traffic.

Chibi USA

Chibi USA
KIm Westfall
July 14th-Aug 11th

Kim Westfall’s work examines the conflict between the ideal American identity and her own personal experience through references as diverse as film, kitsch, and art history’s greatest hits. She uses the lack of representation of her experience in American culture as a starting point for her portraits. Some pieces represent how how others view and treat her, while others depict how she views herself. She chooses to tuft the rugs with a machine as opposed to hand weaving. The rug at once a homespun, sentimental item becomes mechanized and accelerated. This choice underscores the deadpan humor of the textiles.

This is her second time showing at No Place Gallery and her first exhibition of her textile work in total.

Kim Westfall was born in Seoul, South Korea, raised in New Jersey, and currently lives in NYC. Since graduating from RISD, she has shown both nationally and internationally, and held solo shows at Thierry Goldberg (NYC) and Big Medium (Austin, TX). She was awarded a travel grant through the Jerome Foundation in 2017 to research her personal history and the legacy of her adoption agency, Holt International. She was designated a GKS scholar for fall 2018, and will pursue language and painting studies in South Korea.

Duck Duck Duck Duck Duck Duck Duck Duck Duck Tom Cruise

Child 1 taps Child 2’s head exclaiming, “goose.” All the other children watch silently as ducks. Child 1 chases Child 2 in slow-mo, wide-angle zoom on their adolescent smile, flowers tossed by the crew over their head. Child 1 slows, Child 2 crashes into Child 1, they fall to the ground and “accidentally” kiss. The teacher jumps to pull Child 1 off of Child 2. She explains that they can’t kiss because they are only seven. Child 1 explains how they saw it in a movie once.

Riley Hanson (b.1995, Akron, Ohio) currently lives and works in Philadelphia, PA. Recent solo exhibitions and publications include When You Care Too Much Your Guts Slips Out, Gallery Bypass, Detroit, MI; It’s Burning Up In Here Baby, Kamihira, Philadelphia, PA; Essay inclusion in eponymous book on the occasion of the exhibition, Alex Da Corte, C-A-T Spells Murder, Karma, New York, NY

http://www.rileybeef.com/

As If A Field Could Become Some Dream

“As If A Field Could Become Some Dream”

May 19 - June 15 2018

Opening Reception - May 19th, 6pm-10pm

Curated by Brian Scott Campbell

Across the field a compendium of hallucinatory matter—the field, where things happen: battles, thought, conflict, play, dreams. Am I dreaming? Oh, heaven forbid! An opening in the woods becomes a field where light materializes in the dew above the grass, an open space as if a field could become some dream. “As If,” as much a hypothetical proposition as it is a sarcastic quip. The “field” a repository of transmissions and one-way dispatches. The “field,” an architectural, verdant, pastoral, wide-open, and a clumsy registry of broadcast. “Some Dream,” a kind of fog in which imagery may pass through, eroding particular features and presenting a unique and unwieldy space.

As If A Field Could Become Some Dream is an exhibition featuring the works of ten artists whose practices expand across a range of methodologies. Their works in painting and sculpture, employ a divergent and often outrageously idiosyncratic relationship to imagery and the picture plane. The full-tilt abstraction is often lodged into a dialogue with odd-ball cartoon portraiture and figuration, or within a discreet structural frame. The materiality of each of these works, and surfaces take immediate hold of the viewer, and tether the reduced imagery to a very human touch and organic ligature.

Yevgeniya Baras , NY
http://yevgeniyabaras.com/home.html

Jaqueline Cedar , NY
http://www.jaquelinecedar.com/

Erin Dunn, NY
http://www.erinmariedunn.com/

Ted Gahl, CT
https://www.artsy.net/artist/ted-gahl

Kristina Lee, NY
http://www.kristina-lee.com/

Martin Lukáč , Prague
http://lukacmartin.com/

Rebecca Morgan, Ohio
http://rebeccamorganart.com/home.html

Keith Allyn Spencer, Ohio
http://keithallyn.com/

Michael Swaney, Spain
http://www.michaelswaney.com/

Cody Tumblin, Chicago
https://codytumblin.com/

No Place
1164 S Front St. Columbus, Ohio noplacegallery.com

Be A Hero

B.1990 Louisville, Kentucky. Taylor Ashby Hawkins is an artist living and working in Brooklyn, New York. Taylor attended Columbus College of Art and Design for Painting. After graduating in 2012, he moved to Brooklyn and graduated with his MFA from Columbia University in 2017. Taylor’s installation at No Place reflects the visual environment of gaming onto the world we live in. There is agency for the performers to become influenced by an anonymous community of watchers via social media, or in this specific case Twitch.TV. The work examines how a player may control the actions of not a virtual figure, but a physical body. One person has to process and execute a command given by another.

http://www.taylorhawkins.me/

Neu

Sullivan’s sculptures and Irzyk’s paintings share a method of flattening. Sullivan’s spinning objects level out the typical sculptural experience - the objects move 360 degrees and the viewer remains fixed. Irzyk’s paintings are densely layered in thinned paint, pictorial elements develop and recede. Concerns of image v. picture v. object are contended with in both bodies of work. Sullivan’s plastic forms examine the relationship of line, both literal and graphic to surreal and cartoonish imagery while Irzyk places abstract painting against representation and re-evaluating the role of each language.

NICHOLAS SULLIVAN

b. 1987

is an artist living and working in Brooklyn, NY. He is an assistant professor in Studio Foundations at Massachusetts College of Art and Design. Sullivan earned his M.F.A. in Sculpture from Massachusetts College of Art and Design, Boston, MA in 2013, and his B.F.A. in Sculpture from the University of Massachusetts Amherst, Amherst, MA in 2010. Recent exhibitions include; O, Catbox Contemporary, Brooklyn NY; The World Without Us, Brennan & Griffin, New York NY; Gist & Gesture, Kavi Gupta, Chicago, IL; It/Ego, Brennan & Griffin, New York, NY (2016); Peanut, Mumbo’s Outfit, New York, NY; Foster Prize Exhibition curated by Kijidome, Institute of Contemporary Art, Boston, MA.

http://www.nicholas-sullivan.com/

Nick Irzyk

B.1988

lives and works in Queens, NY. He received his MFA from Virginia Commonwealth University in 2014. Recent solo and two person exhibitions include Rough Country with Michelle Segre at 247365, New York, NY and Triple Andrew at 106 Green, Brooklyn, NY. Recent group exhibitions include Salad for Everyone with Philip Hinge and Jennifer Sullivan at St. Charles Projects, Baltimore, MD, Essex Flowers w/ Catbox Contemporary, New York, NY, Underdonk, Brooklyn, NY, NADA Miami and New York, and Motel, Brooklyn, NY. He runs Step sister gallery in New York, NY.

https://www.nickirzyk.com

Keeper of a Fever

Ross caliendo - b. 1988, Pittsburgh, (CCAD bfa )

http://noplacegallery.com/admin.php?/cp/publish/edit/entry/20

Lives and works in Los Angeles, CA
http://www.rosscaliendo.com

Anne Fellner - b. 1986 new york city ,Lives and works in Berlin , Germany

Rachel Hayden- b. Cincinnati . Now lives and works in Baltimore. (MICA bfa) In her work you will find fast cars and planes, checkers and flames, the moon in its phases, and other heavenly bodies.

http://rachelahayden.com/Paintings-1/space-race-3

Kirt Hobbler- b. Cincinati, OH (CCAD bfa )currently attending (Cranbrook MFA) Detroit, Michigan

http://kirtlandjames.tumblr.com/

Blair Whiteford- (Ringling bfa) currently attending(Yale MfA) New Haven, Connecticut

https://www.blairwhiteford.com

Chimera

No Place Gallery is pleased to present Chimera, a group exhibition of new works by Chelsea Culprit, Catalina Ouyang, and Vanessa Thill. The works on view include paintings, sculpture, and video that represent each of the three artists’ approach to manipulating many forms of intimacy, hybridity, possession, and restraint that are scattered throughout the exhibition.

The Khimaira (Chimera) in Greek Mythology was a three-headed monster which ravaged the countryside of Lycia in Anatolia. It was a bizarre fire-breathing creature with the body and head of a lion, a goat’s head rising from it’s back, the udders of a goat, and a serpent for a tail. The creature has been described as female, and was of divine origin along with her other siblings; Cerberus, Sphinx, Hydra, and Orthrus. Breathing fire from her mouth, the Chimera ravaged and terrorized much of what was around her.

Throughout the ages, ideas of hybridity was often depicted in mythology in the form of a fearsome creature, or an entity of temptation or trickery. Vanessa Thill’s sculptures, Osmo-Troika, and Racket use a range of materials such as salt, spices, resin, charred wood, detergents, coffee, soap, fake blood, shellac, and other obtainable fluids and substances to create an elixir that is coated onto various types of ripped or perforated paper. These works hang and bend in the space like jagged mutated garments; stiff and looming in the space through the support of the hardware securing them.

Fragmentation of the body is another recurring theme throughout the exhibition. Catalina Ouyang’s sculpture The New White Meat simulates flesh through the use of digital images as a portrait of her lover who is a distorted, curled ball of pig skin and raw pork. Power dynamics shift and skew, as the seemingly immortal bodies interacting in the work both display different ideas and histories of possession and liberation in love. Two glove-like hands extend from an absent body: one hand plunging into the orifices of the lover, the other hand holding an iPhone, mid-scroll through a chapter from the Chinese legend Romance of the Three Kingdoms, in which a wife is casually cannibalized in order to feed an army. Here, violence and its retribution are chaotically and erotically transferred, in the absence of institutional justice.

One video work, More Meat, acts as a contemporary memento mori featuring an iPhone with headphones and a gnarled, purplish hand. The iPhone plays a vernacular video: in the foreground, the artist at Coney Island eats a processed meat sausage; in the background, a street performer embodies the Monkey King, a primary character in the Chinese legend Journey to the West, as children in passing play-act as Chinese warriors. It is ambiguous what in the still life is an active player or passive witness; the hand, animate and attached to a living thing, or taxidermied and dead? More Meat is interested in violence that both hides and emerges in plain sight.

As the body is disjointed throughout the exhibition, it is also mingling, and melting together with other figures and materials. Chelsea Culprit’s large painting series You Don’t Own Me on bed sheets depict multiple figures that are caressing each other, displaying a mix of emotions that include feelings of ecstasy, inclusion, jealousy, and disclusion of the foreplay taking place. The forms are weaving and combining, as they rest on the wall or dangle in space as double sided pictures. Shreds of bandages hang from the ceiling to hold heavy heels of concrete that are battered and lit with LED candles like memorials. These discarded objects suggest themselves as markers of a lesser known narrative or history.

Black Infinity

Lukaza Branfman- Verissimo, Tyler Davis, Sara Emsaki, Cameron Granger, Maria Guzman Capron, Dionne Lee, Carolina Magis-Weinberg, Christopher Martin, Marcela Pardoa Ariza and Aya Zemrani, Curated by Tosha Stimage

The Beginning of Never Ending, is a group show featuring works ranging in theme and medium highlighting the diverse narratives of emerging local and international artists of color.

From the large scale mixed media paintings of Columbus College of art and design BFA ‘18 candidate Tyler Davis, to the text and color based installations of Mexican artist Carolina Magis-Weinberg, the ever powerful and gripping questions of history, space, and identity are the undercurrent of the exhibition.

As a collective, The Black Infinity exists to support the materialization of marginal perspectives and art practices. We provide funding, exhibition opportunities, an online marketing platform, and professional development opportunities all free and open to the public.

Hysterical Body

HYSTERICAL BODY

Frank Castanien | AJ Fusco | Charles Sommer

No Place Gallery, 10.06.17 - 10.27.17

Curator: James McDevitt-Stredney

HYSTERICAL BODY‘s title is taken from a John Maus rant on YouTube:

“What I’m trying to do is appear as something else than the world as it stands, because I believe that’s what we all really want, is to see one another and be seen, and my particular wager is that the hysterical body is perhaps exemplary in its affirmation of that.”

“Hysteria,” in Webster, is a “psychoneurosis marked by emotional excitability” as well as a “behavior exhibiting overwhelming or unmanageable fear or emotional excess.” Hysteria comes to us from the ancient Greek root hystera, meaning uterus, and was associated, by Plato and Aretaeus, with a “wandering womb” which had a separate life within the woman: “an animal within an animal.”

Therefore, hysteria has always been marked by notions of gender and embodied experience. In No Place Gallery’s HYSTERICAL BODY exhibition featuring the work of Frank Castanien, AJ Fusco, and Charles Sommer, the outmoded cultural lineage of hysteria is queered and recast in outer space, where the utopian promises of sci-fi writers like Octavia Butler and Ursula K. Leguin found purchase. In space, the body is still a prison, but no one is there to insist you’re being hysterical, even if you are hypoxic from space sickness. The aesthetic conventions of “outer space” provides a visual metaphor for an inner psychological space to be found outside of the psychic colonies capitalist society has erected within our minds, which thwart our ability to be, and be seen, as our real selves in the social-visual plane.

Frank Castanien (b.1989; Marion, OH) is an artist and poet based in New York City, NY, and Vienna, Austria, who graduated from the Columbus College of Art and Design in 2011. Castanien’s plexi, vinyl decaled, and spray painted jigsaw sculptures contrast obsidian with fluorescents to create otherworldly, cartoonish creatures caught between expressions of torturous agony and le petit mort ecstasy of orgasm. The two standing genderfuck sculptures are marked by diverging sexually dimorphic characteristics, standing atop phalluses that cum Warhol flowers. Castanien’s wall sculpture, meanwhile, freezes a psyche split by two inverse identities, recalling the dysphoria in the name of the band Against Me!

AJ Fusco (b. 1984; Columbus, OH) is an artist based in Brooklyn, NY, and a graduate of the School of the Art Institute of Chicago. Fusco previously lived at Skylab Gallery. His finely wrought, large-scale graphite drawings retain visual elements derived from H.R. Giger, The Matrix, or even The Next Generation’s Borg, while excising all representational genre references. Fusco’s delicate drawings are abstractions of psychological horror that compel us to stare into their abyss. After prolonged exposure, the viewer is left with a similar dread as that provoked by Martin Vaughn-James in his inscrutable 1975 graphic novel The Cage.

Charles Sommer (b.1989; New Jersey) is an artist based in Brooklyn, NY, and a graduate of Brooklyn College’s MFA program. Sommer’s pictorial vocabulary draws on STEM field diagrams and charts; 1980s trapper keeper aesthetics; and visionary depictions of what multiple dimensions and other worlds might look like. His brilliant red cadmium B-movie landscape offers a nostalgic view of the future from the position of the past while his mural encompassing the eastern and southern walls of the gallery asks us to envision even our place in the present anew - whether that is the 2-D space of a painting, the 3-D space of the gallery, the 4-D space of cosmic time, or the unlimited dimensions that string theory and the simulation hypothesis force us to contemplate.

Text by James Payne

Syridium Damianus Hectophantasmagon

Shawn McBride

No Place Gallery, 9.8.17 - 9.29.17

Curator: James McDevitt-Stredney

Shawn McBride (b. 1990; Ashland, OH) is a L.A.-based painter, for now at least, with deep roots in Ohio. A graduate of the Columbus College of Art and Design, McBride lived at Skylab Gallery and kept a studio in No Place Gallery before leaving Columbus for balmier climes.

However, the artwork in McBride’s No Place Gallery exhibition, Syridium Damianus Hectophatasmagon, was brought into being close to Ohio’s capital. The whole body of paintings and drawings on show was created in August 2017 at Open Wabi, an artists’ residency in nearby Fredericktown, Ohio, on the site of the former Sun Glow Furniture factory.

Flavian

Western Decoy

“WestErn Decoy”

Is an exhibition curated by Angela Heisch and James McDevitt-Stredney featuring contemporary artist who’s work deal with a range of objectification and abstract formalism by way of any means necessary.
Declaring shallow or barely existent space and depth through gyrating surface texture, velvety smooth fields, tromp l’oeil, cut outs, glue ons. The show features contemporary artist living and working in Chicago , Texas, New York City, and France.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-Amie Cunat-

Www.Amiecunat.com/

-Jack Arthur Wood-

Www.jackarthurwood.com/

-Adrien Fregosi-

Www.adrienfregosi.com/

-Kevin Umaña-

Www.kevin-umana.com/

-Paolo Arao-

Www.paoloarao.com

-Allison Reimus-

Www.allisonreimus.com/

-Paul Simmons-

Paulsimmonsstudio.com/

-Jon Lutz-

Www.106green.com

-Christopher Dunlap-

Www.Dunlappaintings.com

Since My Dog Died

Clair Morey (B. 1992, Columbus, OH) received her BFA from the Columbus College of Art & Design in 2014. Clair has presented a solo show at the Columbus Metropolitan Library, and participated in group shows at the Ohio State University Urban Arts Space, and throughout central Ohio. She lives and works in Brooklyn, NY.

ClairMorey.net

Sam Branden (B. 1991, Cleveland, OH) received his BFA from the Columbus College of Art and Design in 2014. Sam has completed residency at Contemporary Artists Center at Woodside, Troy, NY, and his work has been included in publications such as Hyperallergic. Sam presented a solo show at Quality Gallery, Oakland, CA, and has participated in group shows at Scott Charmin Gallery, Houston, TX, Space Heater Gallery, Brooklyn, NY, and most recently at E.TAY Gallery, New York City. He lives and works in Brooklyn, NY.

http://www.samuelbranden.com/

Myth Envy

L.A based painter - Alake Shilling

Alake Shilling is an artist living and working in Los Angeles. She attended the Art Institute of Chicago (SAIC) then at Los Angeles City College (LACC). Today she is taking a break from school to focus on painting and ceramics. Her memories of growing up in the middle of Los Angeles, and exploring popular artistic cornucopias such as Boys Town and Venice Beach have influenced a great deal of her work.

Columbus based sculptor -Theresa Touma

Theresa Touma is a Columbus based artist, and received her BFA from the Columbus College of Art and Design. Her sculptural installations are Inspired by daily objects, and the way color and materials transition with one another. Her installations function as a self-governing ecosystem, where each piece performs as a part of its own environment.

Where Or When

Where or When

Painting//Photography

—-Nathan Moser—-

Nathan is a CCAD graduate pursuing design and painting in Brooklyn, New York.

—-Andrés Vargas—-

Andrés lives and works in Guatemala City. In 2012 had his first solo exhibit “El Gallito” and most recently presented his book “Ideas de Progreso” in two solo shows in Guatemala and Panamá City.

http://www.andresxvargas.com

Smoking Section

Thomas Kassai is a Cleveland, Ohio based artist who works in the realm of painting and sculpture. He is a recent graduate of the Cleveland Institute of Art with a Bachelors of Fine Arts in Painting. Thomas is currently working full time while maintaining a productive studio practice within his home studio.

http://thomaskassaiart.weebly.com/

Like Molasses

My Husband Is Dead And I Only Want Sex

Help Wanted

:)`

This Living Land

Dangwayne Olsen

Empty Luxury

Planet Cool

Ben Quinn