Tal Gilboa and Elizabeth Stehl Kleberg, Double Flame, 2015, HD video projection, projector, duralar, dimensions variable


MARCH 10 - 26, 2017

Opening reception: Friday, March 10th 6-8pm


Coady Brown

Nika Fontaine

Heather Goodchild

Tal Gilboa & Elizabeth Stehl Kleberg

Ness Lee

Tau Lewis

Danielle Orchard

Rebecca Fin Simonetti

Betty Tompkins

Emily Roz




an exhibition on relationships between women


Danielle Orchard, November 9, 2016, oil on canvas, 72 x 48 inches

"The women in my work are shown in accidentally compromised situations. Nip slips at the beach, unflattering sports poses, sneaking away to pee outside at a party—I see these brief moments of vulnerability as opportunities for finding humor and empathy. I begin a painting with one of these scenes in mind, and through preliminary drawings and collages, work to flatten and stylize the figures. I'm interested in bringing together disparate painting languages and art historical influences to create a world that is at once composited and unified, and populated by a recurring cast of characters that are proxies for myself. The aspect of humanity I want to approach in my work is resistant to classification. It is at once tender and funny, violent and calm, graceful and clumsy. These paintings are not a complete narration—they have no beginning or end; they are not one event—but instead blend personal experiences and memory with art history. The degree to which the viewer is able to distinguish and name the figures or their environments varies, but while making the paintings, I usually think about places of leisure: parks, gardens, beaches, etc. Languor and the anxiety of inaction exemplify the tension that exists between anticipated and actual experience, tension that I hope to capture in my work."

-Danielle Orchard

Danielle Orchard (b. 1985, Michigan City, Indiana), is a painter based in Brooklyn, NY. She received a BFA in Painting from Indiana University in 2009 and an MFA in Painting from CUNY-Hunter College in 2013. She was a 2013 Dedalus Foundation MFA Fellow, and recipient of the 2014 Alma B.C. Schapiro Fellowship for a Woman Painter at the Corporation of Yaddo in Saratoga Springs, NY. She has participated in group exhibitions at Kers Gallery in Amsterdam, NE; Driscoll Babcock Gallery in New York, NY; Judith Charles Gallery in New York, NY; and Field Projects Gallery in New York, NY, among others. She is also a member and curator at Underdonk Gallery in Brooklyn, NY.

Tau Lewis, The cause and cure is you., 2017

plaster, cloth, acrylic paint, leather, reading book, 21 x 66 x 32 inches

(painting that accompanies sculpture: Untitled, 1983, watercolor on paper, 10 x 15 x 1 inches)

Tau Lewis, Self portrait #2,  2017, plaster, asphalt, stones, silicone, seashells, seaglass, acrylic paint, sterling silver, ceramic vase, pipe, wire, 22 x 10 x 11 inches

"The cause and cure is you," is part of Tau Lewis’ new body of work, 'cyphers, tissue, blizzards, exile." Lewis incorporated photographs, figurative sculptures, video, and site-specific installations at 8eleven Gallery in Toronto. In her practice, she investigates dreams, wherein no concrete semblance of time exists, to explore collective and historical trauma, repression, and the performance of recovery. The work acts as a physical manifestation of a dreamt landscape, charged by remnants of personal histories and material markers of time.

Tau Lewis (b. 1993) is a Jamaican-Canadian artist living and working in Toronto, Ontario. A self-taught sculptor, Lewis combines natural and synthetic materials to create simulations of living things. She considers the history and symbolism of each material, exploring the political boundaries of nature, identity and authenticity. Her work is bodily and organic, with an explicit strangeness and subtle morbidity. Previously, Lewis' work has carried strong feminist themes. Her current practice relies heavily on her surrounding environment; she uses live plants, found objects and repurposed materials collected throughout the Canadian landscape to create figurative sculptures investigating black identity politics and African diaspora. Lewis has exhibited at the Art Gallery of Ontario, Katzman Contemporary, Project Gallery Studios, and Sleep Center in New York City. She has received support for her artistic practice from Toronto Arts Council and Ontario Arts Council. Other exhibition sites include: the Spring Break Art Fair in New York City, Mulherin New York, Cooper Cole in Toronto, and the Art Gallery of York University in the fall.

Ness Lee, Spring Love, 2016, gouache on paper, 13 x 10 inches

Ness Lee's practice  is an investigation with experiences of intimacy and self explorations in love and distance. Rather than the emphasis on the physical form, the emotional resonance and presence is brought to focus in periods of vulnerability, discomfort and acceptance. With various mediums, she explores and echoes these emotions in different parts, encompassing its tactile experience into one that is filled with a depth of feeling, playing on humourous rhythms.

Ness Lee is an illustrator/artist based in Toronto. Her Illustrations have been chosen for award publications such as American Illustration and The Society of Illustrators. She has had her editorial works featured in magazines such as Lucky Peach and BUST Magazine. Alongside illustration she explores and challenges a variety of mediums- more recently in ceramics and wood. Her works play with notions of emotional physicality, growth and self love.

Coady Brown, House Party, oil on canvas, 56 x 52 inches

Coady Brown, Over Lover, oil on canvas, 14 x 11 inches

Bodies occupy tightly framed, intimate spaces. Groups, couples, and solitary figures examine self-presentation in both private and public life. Forms are both flat and rendered, abstract and optical, fractured and reimagined. It is a world where artifice is revered, self-fashioning is king, and color and light run wild. Figures become reflections of their environments, mirroring these heightened, surreal, frenetic, groovy, sexy, and sorrowful states.

The figures are never nude: they are decidedly, specifically dressed. The emphasis on fashion is a celebratory declaration of the body. Patterns are hand-painted in contrasting, high-chroma colors. Dots are stippled and stripes are squeegeed. Polymorphic blobs grind and groove across thick thighs. Eyes, flowers, faces, and geometric patterns are rendered and bejeweled onto jackets and t-shirts. Fashion becomes a site of freedom, a place to explore self-expression and presentation. It is a place where reality can be left behind and a portal is opened to the illogical, confused, animated, and divided self. Fashion acts as a fissure; a split that can expose and explore new narratives. I am interested in how the body can reject a singular perspective and consumption. I seek to construct images that reflect this subjective body and its subversive narrative.-Coady Brown

Coady Brown (b.1990, lives and works in Los Angeles, CA.)  Brown received her BFA from Tyler School of Art, Temple University in 2012 and completed her MFA at Yale University in Painting and Printmaking in 2016. Her work has been exhibited at NAM Project (Milan), Tomorrow Gallery (New York), and The Woodmere Art Museum (Philadelphia). She has completed residencies at the Yale Norfolk Summer School of Art and the Vermont Studio Center. She has been awarded the Carol Schlosberg Memorial Prize for Excellence in Painting (Yale University 2016), the Hugh & Marian Scott Prize (Woodmere Art Museum 2013), the Richard Cramer Color Award in Painting (Tyler School of Art, Temple University 2012), and the Gianni Caproni Art Prize in Painting (Temple University Rome 2010).

Nika Fontaine, Fairies Circle, 2016

oil and metal leaf on canvas, 60 x 40 inches

Courtesy of Wildpalms, Berlin.

Nika Fontaine, Becoming Spiral, 2016

oil and metal leaf on canvas, 36 x 24 inches

Courtesy of Wildpalms, Berlin.

Nika Fontaine, born in Montreal, lives and works in Berlin since 2008 where she graduated from the Kunsthochschule Berlin Weissensee in 2012. In 2013 she completed her Meisterschuler diploma and in 2015 she received the Elsa Neumann scholarship for her project Kitschypedia. In 2013 she won the jury prize Macht Kunst from the Deutsche bank Kunsthalle in Berlin where in 2014 she presented her work Pimp my Ride to Heaven. Her works were presented in multiple venues in Europe and Canada in solo and group exhibitions. Since 2014 she has worked in close collaboration with Wildpalms with whom she has and will exhibit works in Germany, USA and Mexico. She participated in the Untitled Art Fair in Miami with Wildpalms in 2016 and Art Toronto in 2016 with Joyce Yahouda. She recently won an honourable mention at the RBC painting contest 2016 which took place at the Power Plant gallery in Toronto. As a multidisciplinary artist she uses painting, sculpture, photography, performance and music to express her spiritual beliefs and as well to reflect on the decorative aspect of fine art. Her works are an androgynous celebration of craft, magic and contemporary art.

Heather Goodchild, February afternoon, 2017

watercolour on paper, 10 x 7 inches

Heather Goodchild includes painting, textiles, ceramics and installation as part of her practice. Her work has been exhibited across North America including the Textile Museum of Canada and the Art Gallery of Ontario. Alongside her studio practice, Goodchild makes video and album art for musicians including Bahamas, Feist and Chilly Gonzales.

February afternoon is aligned with a recent series of paintings exhibited at Mulherin, Toronto (Oct 2016), depicting events around the home. A portrait of the artist's neighbours, her familiarity with the household surroundings and individuals allows for a layered perception of the scene.

Betty Tompkins, Women Word Group, 2016, acrylic on paper

Courtesy of PPOW, New York.

Betty Tompkins (b. 1945) is an artist living and working in New York, NY, and Pleasant Mount, PA. For the last forty years, Betty Tompkins has based her paintings on the tension of intimacy and representation of sexuality, rendering explicit scenes in monochromatic tones. Her radicalism in the late 60s led to the unfortunate censoring of her work and later a spotlight on her role in the American and European art scene. Her large-scale, hyper realistic figure paintings are made from erotic photographs and built layer by layer, using two airbrush nozzles to apply black and white acrylic. Her work is not meant to arouse fantasy but to transpose light and shade, the effect of the process enveloping the scene in sfumato. Text and language play a large role in Tompkins work, often driving the subject matter and concept of the piece. Recent solo exhibitions include WOMEN Words, Phrases, and Stories, Flag Art Foundation, New York (2016); Real Ersatz, FUG, The Bruce High Quality Foundation, New York (2015); Art Basel Feature, Galerie Rodolphe Janssen, Basel, Switzerland (2014); Paintings & Works on Paper 1972-2013, Gavlak Gallery, Palm Beach, FL (2014); Woman Words, Dinter Fine Art, Project Room #63, New York (2013); Fuck Paintings, Galerie Rodolphe Janssen, Brussels, Belgium (2012); New Work, Mitchell Algus Gallery, New York (2009). Tompkins’s work has also been featured in numerous group exhibitions, including The Shell (LANDSCAPES, PORTRAITS & SHAPES), Almine Rech Gallery, Paris, France (2014); A Drawing Show, Matthew Marks Gallery, New York (2014); CORPUS, Zacheta National Gallery of Art, Warsaw, Poland (2014); A Chromatic Loss, Bortolami Gallery, New York (2014); Sunset and Pussy, Marianne Boesky Gallery, New York (2013); Elles, Centre Pompidou, Paris (2011).

The large scale photorealistic paintings of heterosexual intercourse which Betty Tompkins made between 1969 and 1974 were practically unknown when they were exhibited together for the first time in New York in 2002. Knowledge of Tompkins’ paintings immediately broadened the repertoire of first generation feminist-identified imagery. More significantly, their materialization made manifest an unacknowledged precursor to contemporary involvement with explicit sexual and transgressive imagery. Shown at the Lyon Biennale in 2003 beside Steve Parrino’s equally wayward abstractions, Betty Tompkins’ work garnered extraordinary attention. The first painting in the series – there are only eight extant early Fuck Paintings – was acquired for the permanent collection of the Centre Pompidou/CNAC in Paris. (A satisfying postscript given that the paintings were detained by customs officials and ultimately denied entrance to France in 1973; a situation that was repeated two years ago when Tompkin’s work was sent to a gallery in Japan.).........
Although Betty Tompkins’ work is not included in LA MOCA’s current Wack! Art and the Feminist Revolution exhibition, it figures prominently in Richard Meyer’s essay for the show’s catalog, Hard Targets: Male bodies, Feminist Art and the Force of Censorship in the 1970s. Meyer notes the essentialist bent of much early feminist-associated art and outlines the marginalization melded the phalocentric or coitus-concerned work of heterosexual women artists. Given the context, Tompkins’ straightforwardness and refusal to moralize is bracing. This, coupled with a ferociously deadpan humor, makes the artist’s images iconic. – Mitchell Algus

Way back in the 1960s at the exact same moment that Chuck Close was doing it with the faces, Betty Tompkins was making enormous black-and-white photorealist paintings — not of faces — but graphically pornographic images (...), ripped from straight male porn magazines (yes, kids — people used to masturbate to still black-and-white pics back in the day; not color videos like all of you); beautiful paintings of blow jobs, female fingerings, spread-eagle women doing anything you might imagine. I remember seeing images of this work back then and thinking, Wow! I like these way more than Chuck Close; this is someone really going for it in scale, technique, and holding nothing back about image. Sadly and undeservedly — and probably because it was too scary for a woman to be handling in-your-face imagery and scale like this — Tompkins was dealt out of a little history before storming back in about 15 years ago; she's one of the strongest artists out there now, always sparing nothing, using contemporary porn (all-shaved, of course, and bigger dicks, not sure why), in a show that is a must-see for the legions of curators who are always beating the bushes to "rediscover" other "older women artists." – Jerry Saltz

Emily Roz, Judy, PBSNewsHour, 2016, oil on paper, 12 x 16 inches 

Emily Roz, Gwen, PBSNewsHour, 2016, oil on paper, 12 x 16 inches 

"Anchors" is a portrait series of newscasters made in response to the 2016 presidential election. The series began in September 2016, with portraits of Gwen Ifill and Judy Woodruff of the PBSNewsHour, the first female co-anchor team on broadcast television. At the time, Gwen Ifill's cancer was unknown to the public, and her death in November 2016 was a tragic shock.

These are the journalists that I trust: they are my anchors.-Emily Roz

Emily Roz (b. 1972, New Haven, CT) received a BA from Hampshire College where she studied Art History, Literature and Weaving. She went on to receive an MFA in Fiber from Cranbrook Academy of Art. Her work has been exhibited nationally and internationally, including Front Room Gallery, Auxiliary Projects, Parlour, HKJB, and 31Grand in New York; Decatur Blue in Washington DC; NUDASHANK in Baltimore; articule in Montreal; Gardenfresh in Chicago, Franklin Street Works in Connecticut and The Kohler Art Center in Sheboygan, Wisconsin. She has been covered in The New York Times, New York Magazine, Time Out New York, The Village Voice, The Washington Post, Joy Quarterly, W+G Williamsburg News + Art, Apollo Magazine, The Brooklyn Rail and NewCity Chicago. Emily was raised in Chapel Hill, North Carolina and currently works in Queens, New York. She lives on a small island off the coast of North America with her husband and son. 

Rebecca Fin Simonetti, New Horns For Hirsh II, 2016

pen on paper, 15 x 11 inches

Rebecca Fin Simonetti, The Last Judgement, 2016

pen on paper, 20 x 30 inches

Rebecca Fin Simonetti, Truster, 11 x 15 inches, pen on paper

Rebecca Fin Simonetti is an artist and musician who lives and works in New York and Toronto. Most recently her work was exhibited at Interstate Projects, New York; Greenpoint Terminal, New York; and MoMA PS1, New York. Recent publications include a book with Rita Ackermann by Innen / Nieves. Upcoming projects include a monograph of with Good Weather Gallery, and her solo album ICE PIX coming out on Hausu Mountain.

Tal Gilboa and Elizabeth Stehl Kleberg , Double Flame, 2015, HD video projection, projector, duralar, dimensions variable

Tal Gilboa (from Jerusalem, Israel) and Elizabeth Stehl Kleberg (from Virginia, USA) are working together in Brooklyn, creating collages, videos and sculptures. It is a collaboration between two artists and collected footage; the artists meet each other as their materials do - through dialogue and improvisation. They received their MFAs from Pratt Institute in 2016. Their work has been shown in New York at SOHO20 Gallery and The Boiler Room, Pierogi Gallery. They recently participated in a residency at Vermont Studio Center and are currently working towards an upcoming show at BAXTER ST, the Camera Club of New York, in June 2017. Tal Gilboa (from Jerusalem, Israel) and Elizabeth Stehl Kleberg (from Virginia, USA) are working together in Brooklyn, creating collages, videos and sculptures. It is a collaboration between two artists and collected footage; the artists meet each other as their materials do - through dialogue and improvisation. They received their MFAs from Pratt Institute in 2016. Their work has been shown in New York at SOHO20 Gallery and The Boiler Room, Pierogi Gallery. They recently participated in a residency at Vermont Studio Center and are currently working towards an upcoming show at BAXTER ST, the Camera Club of New York, in June 2017. 

"We are two artists working in collaboration, creating installations with video projection and sculpture. We’re interested in the moments of connection when two things combine to create a third held together with magnetic potential. This process mirrors our collaborative work -- two seemingly distinct personalities generating a third creative force. In our work we bridge recognizable images and distinct forms into spatial collages. We project manipulated iPhone videos on simple materials like plastic sheets and copper pipes that expand the space of the image. The final composition seems like an exposed magic trick that maintains its mysterious nature. " -Tal Gilboa and Elizabeth Stehl Kleberg