Aristotle Forrester explores personal narratives of loss, mythologies, and of the Black experience to ground his work within the expanding field of contemporary abstract painting. Extending lines of inquiry that originate in the modalities of mid-century artists including Willem de Kooning and Joan Mitchell, Forrester develops upon the idea of a figurative landscape with gestural, loaded brushstrokes to release an expressive quality upon his thick, luscious canvases.
Kathryn Goshorn builds images in depiction of the human condition, the purpose of life and how behavior can affect its quality. Goshorn contemplates a duty to understand the space we take up and our influence as we move through the world and interact, leaving those echoes of action, or cause and effect, where the effect is irreparable and one is left to speculate about the cause.
Louisa Owen’s works posit paper as a membrane material, able to soak and absorb the atmosphere into itself. Reminiscent of the bodily forms and orifices found in Lee Bontecou’s wall sculptures or recent paper works by Lynda Benglis, Owens develops abstracted, organic structures simultaneously suggestive of a cave or a spinal column. Emphasizing durability and the architecture of such a frame in place to support the facilities of the body, Owen’s sculptures provide chambers and inlets for holding expressions of spirituality, meditation, loss, and stasis.
Marcus Leslie Singleton is a Seattle born artist celebrated for his distinctive figurative paintings that deftly intertwine personal observations with broader societal themes. Singleton’s process demands a delicate balance of interpretation and recollection. Through natural, carefree, and playful brush strokes, his work offers meditations on broader issues of race, representation and the historical significance of everyday moments. Using spontaneity, scale, and expressive placement of color, Singleton’s paintings offer a jovial yet serious perspective that is both poignant and bold.
Wen Liu’s sculptures address loss and abandonment through the modification and assembly of found materials. She uses reclaimed domestic objects to build up her sense of belonging and security. Sculptural reinvestment and temporal shift of traces from past to present imply narratives of absence and presence as well as alienation and comfort. Liu ‘s work balances between the contiuums of temporality and permanence, seeking to address the disparities between public recollection and private memory.
Sebastian Burger’s practice walks a fine line between representative and abstract painting. The starting point for his work consists of stylized imagery, often composed in a manner akin to collage, alternating precisely executed illusionism with two-dimensional representation. His work bears the influence of the legacy of surrealism and magic realism, as well as the metaphysical painting of Giorgio de Chirico, who has become a center of interest for a strong current of the emerging generation of young artists.
Michiko Itatani (b. 1948) is a Chicago-based painter. Itatani studied literature and philosophy in her youth before relocating to the US in the 1970's, where she studied visual art at the School of Art Institute of Chicago. She has received the National Endowment for the Arts Fellowship, the Marie Sharp Walsh New York Studio Grant and the John Simon Guggenheim Fellowship among others. She was selected by the Women’s Caucus for a Lifetime Achievement Award 2020.
Storage is an artist-run gallery founded by Onyedika Chuke on the ideals of community, discovery, and connoisseurship. Located in Tribeca and with a viewing room on the Bowery, Storage acts as an archive of makers that work in a range of materials and come from a wide demographic background. Half of the roster is dedicated to reinvigorating the careers of artists of historical prominence, while the other half focuses on nurturing rising artists.
