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Pravdacadabra is an exhibition by Jason Reyen.

Reyen draws motifs from the Socialist Realist style in a new series of parodic allegorical paintings.

Accompanying this exhibition in the project space is Deep Ssips, featuring paintings by Yasamin Keshtkar, Sophie Larrimore, Nat Meade, Clayton Schiff, and Salman Toor.

Carpet Grotto is an exhibition by Deborah Mesa-Pelly.

Mesa-Pelly’s video and sculptural works draw from a variety of sources, including King Ludwig II’s Venus Grotto he had built at Linderhof Palace, Adolf Loos’ 1903 bedroom he designed for himself and his wife, the so-called ‘autonomous sensory meridian response’ (ASMR), and solar rock lights. Mesa-Pelly’s installation reimagines these and other elements to highlight the peculiarities of designed space, its interplay of natural/artificial and interior/exterior worlds, as well as its spectacular, entropic, and phenomenological aspects.

Accompanying this exhibition in the project space is Private Joy, featuring work by Gaby Collins-Fernandez and Jason Stopa.

Sam McGee's Big Night is an exhibition by Paul Bergeron.

The installation combines two stories—Robert W. Service’s poem The Cremation of Sam McGee and fairytale The Three Little Pigs—and posits them within the same universe. Characters are given new roles and seek to convey a story that combines the real, the remembered, and the fantastic. Characters’ names and artwork titles come from personal references, specific stories, and other influences.

Bergeron’s work is informed by his growing up in Alaska, Sesame Street, and French surrealist literature.

The Bight is an exhibition by Ben Finer.

Finer’s practice spans drawing, sculpture, puppetry, set design, and in recent years has expanded into writing, producing, and directing his own films. In Finer’s In the Bight (2016), twins Aada and Jakob discover a phantasmagorical world in the woods surrounding their home. Also on view is Night and a Switchblade (2013), Finer’s “bizzaro-noir, teen-rebel movie about deviant youth and the lurid mysteries haunting a nocturnal American landscape.” The installation includes a selection of Finer’s handmade masks, many of which appear throughout his films.

How to heal a rotten eye is an exhibition by Mitch Patrick.

Patrick's works are decidedly cyborgian, exploring the confluence of physical performance, video hardware/software, and digital/analog object-making. For instance, his Arrival_Points videos display a sort of display-screen-as-matryoshka-doll to “reveal how physicality in the real world might be used as a means to quantify and atomize the digital image down to its one basic part,” while his surrealistic Tandem Tickers videos present “various forms of modern detritus” as eternally-cycling, de-gravitated digital vanitas.

Also on view are Patrick’s Diagraphein and Glyphein drawing series, a collection of intricate diagrams that visualize a “cybernetic system for remedying rotten eyes” and the attendant eye charts these cybernetically-repaired eyes might use.

Accompanying this exhibition in the project space is Miami Overflow, featuring a selection of work by artists included in our PULSE Miami Beach 2016 booth.

Razerbilder features work by Lars van Dooren, Stephen Eakin, Kirsten Nelson, and Ken Weathersby.

“Human nature, essentially changeable, unstable as the dust, can endure no restraint; if it binds itself it soon begins to tear madly at its bonds, until it rends everything asunder, the wall, the bonds, and its very self.”
—Franz Kafka, 'The Great Wall of China'


“All the modern things/Have always existed/They’ve just been waiting/To come out/And multiply/And take over/It’s their turn now.”
—Björk, 'The Modern Things'


Undergirded by the language of carpentry and practical building, the works in Razerbilder are shot through with complexifying interventions—floor plans dissolve; constructions are hybridized, confounded, and filigreed with idiosyncratic codes.

Whether ruins, relics, or building blocks, the works in Razerbilder evidence the uncanniness and volatility of the structures and objects that form our worlds.

Plot Points features work by Justin Amrhein, Justin Cooper, Caroline Larsen, Amy Lincoln, Lisa Sanditz, Clayton Schiff, Paul Wackers, and Michael Wetzel.

A selection of works with a botanical bent, Plot Points is a crop of vegetal realms, an antidote to corpse-flower postpartum, a hothouse pageant for a dying summer, a variety of non-garden-variety flora, camouflaging bouquets, peak-bloom apotheoses, serpentine hoses, and other floral schema.

Accompanying this exhibition in the project space are a selection of new paintings by and a sculpture by Jason Reyen.

Or Bust features sculpture by Bill Adams, Paul Bergeron, Carl D’Alvia, Elizabeth Ferry, Volker Hüller, Roxanne Jackson, Hein Koh, Rebecca Morgan, Sarah Peters, Janice Sloane, Derek Weisberg, Michael Wetzel, Ana Wieder-Blank, and Nick van Woert.

Or Bust is a selection of works that adopt the bust as form. Arrayed as an antiquities gallery, the exhibition is also a survey of contemporary portrait sculpture. Amongst a platoon of aliens, clones, and effigies are, as in classical salons, pedestaled patricians, goddesses, and vessels. At turns erotic, grotesque, comedic, and fantastical, the assembled works exemplify the mutability and mutation of an ancient, enduring art form.

Special thanks to Asya Geisberg Gallery, 11R Gallery, Elizabeth Ferry, and Michael Wetzel for their contributions to this exhibition.

Polina Barskaya’s paintings are a form of storytelling that reflect domestic life and all its dramas and upsets. Barskaya paints at her home, which is a few blocks from her family in the Russian community of Brighton Beach, Brooklyn. Barskaya’s paintings come from pictures taken in the Soviet Union, Italy during her immigration, the ‘90s in NYC, and travel photos. In her recent paintings, she continues to draw from images of her family circle.

Jason Reyen also lives and works in Brighton Beach, Brooklyn. Reyen’s paintings have the fervent, fertile writhe of a freshly dug garden plot, rich and cloudy with protean, painterly loam. Absurdist, murksome, and palpably searching, Reyen’s smeary grounds are also haunted by occasional semi-human and bestial forms.

Accompanying this exhibition in the project space is dan Waller: sacred sex, (curated by Nikita Vishnevskiy).

Shellf Life is an exhibition by Elizabeth Ferry.

Ferry’s characters embody and transgress nature’s great themes—time and growth—in a gleeful mutative riff. Anthropomorphized clocks keep crazy watch while snails slide to their petty pace. Inwardly-gazing globes mull glittering liquid microcosmos. Chance dances with whimsy among steroidal dice and high-heeled leaf-ladies. In this warp-zone Wunderkammer, Ferry’s menagerie-cum-tchotchke vividly constitutes the stage, parts, and players of a continuously expanding realm.

Swerve features new paintings by Katrina Fimmel.

Fimmel’s canvases teem with a graffiti-like, anarchic flux. Her chimerical, free-associative tableaux seem drawn from the well of some abyssal image-search, her picture-quarry sorted, skinned, and recomposed to confound and inspire allegorists’ and aesthetes’ eyes alike.

Accompanying this exhibition in the project space is Love is Like a Butterfly (3/11-4/3), featuring work by Heather Garland, and ghost girl and the Return of Saturn (1/29-3/6), featuring work by Matthew de Leon.

Lairs is an exhibition featuring work by Ben Finer, Eileen Murphy, and Mitch Patrick.

A gathering of realistic, naturalistic, quasi-naturalistic, and quasi-realistic representations of places, Lairs reconfigures artists’ renderings into a multidimensional way station. Combining tropes from science, design, and museum expositions, Lairs refigures the gallery as a meta-exhibition nested with spatial possibilities.

Strange Friends is an exhibition by Ana Wieder-Blank.

Wieder-Blank’s raw, ebullient paintings and ceramics invoke mythic, protofeminist players—Lilith, Leda, La Loba—to enact terrible and heroic flashpoints of legend. Visionary and revisionist, searing and playful, Wieder-Blank “explore(s) the materials and content with a combination of dark humor, joy, and tragedy” to “change, distort, and extend narratives past their ends to create contemporary political allegories.”

Accompanying this exhibition in the project space is Original PNGs, featuring work by Tom Moody.

cult of the fall is an exhibition by Lars van Dooren.

Ecstatic Prismatic features work by Matt Kleberg, Caroline Larsen, and Devin Powers.

Radiance and recursion riddle these artists’ works. Together, they—Kleberg’s banded and symmetrizing paintings; Larsen’s swirling hothouse crops; Powers’ geodic, honeycombed reliefs—assert the primacy and play of color.

Accompanying this exhibition in the project space is Trace Evidence, featuring work by Lance Lankford.

Control Panel features work by James Clark, Linda Francis, Micah Ganske, Ben Garthus, Tom Moody, and Yael Rechter.

Formally diverse, Control Panel highlights works that channel a distinctive machine aesthetic, and are also iterations of various technological types, processes, and modes. Together, they stage the gallery as an anxious chamber quickened by patterns, programs, and other visual/aural tics, rhythms, and effects.

Accompanying this exhibition in the project space is Salman Toor: Drawings from 'The Electrician'.

Puppet Panic features work by Paul Bergeron, Katrina Fimmel, Jason Reyen, and Ana Wieder-Blank.

Accompanying this exhibition in the project space is Abscissas and Ordinates, featuring work by Lars van Dooren and John O'Connor.

Permanent Collection is an exhibition by Stephen Eakin.

Accompanying this exhibition in the project space is Filling Station, featuring an installation by Jason Reyen.

Freddie, Bread, Curtains features video works by Deborah Mesa-Pelly.

At turns haunting and psychedelic, funny and Argus-eyed, Mesa-Pelly’s videos spin new narratives from a weaving of original and found footage. Her videos explore decadence, formal/spatial artificiality, fragmentation, memory, multiplicity, myth, nature, pageantry, and selfhood.

Accompanying this exhibition in the project space is Family Affair, featuring paintings by Polina Barskaya.

Hippie Priest is an exhibition curated by Nikita Vishnevskiy and features works by Karen Boyer, Daniel Clay, Lars van Dooren, Ben Finer, Michel Gerard, Thomas Stevenson, Suzanne Stroebe, Marina Temkina, Steven Thompson, dan Waller, Nick van Woert, and Lauren Woods.

DEMS TOAD features work by Elizabeth Ferry.

Ferry’s paintings and sculptures gaze, grin, and glow. They’re anthropomorphic, pareidolia-triggering works that stare, stack, and replicate with a kind of primitive-futuro magic. Or, as Ferry writes, they’re “personified forms, reduced and archetypal images: animals, totemic arrangements, life-sized food emoji—I'm rolling with a crew of floating-eyed, fruit-faced, flower-smelling demigods.”

Courtesy of Transition Gallery, accompanying this exhibition in the project space is British Low Culture, featuring work by Kirsty Buchanan, Cathy Lomax, Alli Sharma.

Wretch features paintings by Nina Chanel Abney, Polina Barskaya, Katrina Fimmel, Nat Meade, Rebecca Morgan, Salman Toor, and Ana Wieder-Blank.

Commonly understood as a loathsome individual, the meaning of the word “wretch” bifurcates at its origins, expanding to include journeyers, exiles, warriors, and heroes. In part, the dialectic embedded in the word’s etymology informs this exhibition’s paintings.

Accompanying this exhibition in the project space is Thoughts as well as waters, a site-specific installation by Langdon Graves.

Criminal's Cinema is an exhibition curated by John O'Connor featuring works by Gary Burnley, Dawn Clements, Matthew Northridge, Kanishka Raja, and Bruce Stiglich.

Twice Bitten features works by Yevgeniya Baras, Ana Wieder-Blank, Lars van Dooren, Elizabeth Ferry, Jason Reyen, and Boris Torres.

Twice Bitten includes works by artists who have shown previously at the gallery. The exhibited works are associated with pairs, repetition, twins, and doubling.

Watch video of a panel discussion with the artists here.

Accompanying this exhibition in the project space is Urban Wild, featuring works by Ivan Stojakovic.

vertical hallway and her attendants is an exhibition by Lars van Dooren.

Watch video of a discussion with the artist here.

Not In My Backyard features artworks by Jason Reyen.

Watch video of a discussion with the artist here.

Accompanying this exhibition in the project space is Subtle Adornments, a collaborative installation by Zoë Field and Heather McKenna.


Glorious Creatures features artworks by Jeff Davis, Deborah Mesa-Pelly, and Michael Wetzel.

“The silkworm, after having spun her task, lays her eggs and dies. But a man cannot take in his full measure of knowledge, has not time to subdue his passions, establish his soul in virtue, and come up to the perfection of his nature, before he is hurried off the stage. Would an infinitely wise Being make such glorious creatures for so mean a purpose? Can he delight in the production of such abortive intelligences, such short-lived reasonable beings? Would he give us talents that are not to be exerted? Capacities that are never to be gratified?”
—Joseph Addison, “On the Immortality of the Soul”


Bugger the $phinx features paintings by Alicia Gibson, Yasamin Keshtkar, and Boris Torres.

Bugger the $phinx offers a riddling hybrid of paintings where slogans, screencaps, and porn-traiture join in a lyrical clusterfuck of salon-styled hieroglyphs. Reveling in strange adjacencies, the works echo the irreverence, absurdities, and erotics roiling the Information Age's data stream.

Accompanying this exhibition in the project space is Locus, featuring sculpture by Cecile Chong.

Watch video of a panel discussion with the artists here.

CAVING features works by Tamara Gonzales, Elizabeth Ferry, Yevgeniya Baras, and Farrell Brickhouse (project space). Curated by Yevgeniya Baras.

Watch video of a slide presentation by Farrell Brickhouse here.

Women of Song features paintings by Ana Wieder-Blank.

Wieder-Blank reimagines biblical scenes with robust, technicolor figures. Vibrancy and violence collide in raging, queasy tableaux that underscore the sacred at its most profane.

Watch video of a discussion with the artist here.

Accompanying this exhibition in the project space are drawings by Jason Reyen.

The Crystal Cracked features artworks by Jessica Cannon, Lars van Dooren, Ben Finer, Michelle Heinz, Peter Lapsley, Keri Oldham, Russell Tyler, and Nikita Vishnevskiy.

This show highlights works that are of a fractured, cosmic, or fantastical bent. Like prisms splintering their own light, the artworks rally fragments into curious constellations that reassert the sublimity of brokenness.

Watch video of a panel discussion with the artists here.

Accompanying this exhibition in the project space is Bardo, featuring paintings by Linnea Paskow.

A group exhibition featuring works by Linda Francis, John O’Connor, and Ken Weathersby.

Watch video of a panel discussion with the artists here.
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