Author: radiator


December 13, 2018 – February 1, 2019
Opening Reception: December 13, 6-9PM

Artists: Yaloo, Taezoo Park, Jeremiah Teipen

Curated by Eun Young Choi

Hypervirtuality presents a mash-up of physical reality and virtual reality created by three artists that utilize technology to examine and understand our relationships to one another and our surroundings in the digital age. The artists present narratives that explore diverse interrelated environments that are natural, virtual, social and political. Taezoo Park’s digital sculptures Singularity from his Digital Being series allows the viewer to communicate with a presence/being that is embodied inside discarded technological debris. It reacts to our advances. It responds to our touch. It senses our presence and reacts to our every move. What is it trying to tells us? What are we communicating to each other? In Jeremiah Teipen’s Touchface, virtual forms protrude into physical space and physical forms are digitized to explore the overlap between the virtual and physical where everything is at once familiar yet alien. Teipen creates surreal trance-inducing environments that is digitally vacuous yet richly sensuous. Yaloo creates her projection mapping sculptures using both physically sculpted and animated elements in virtual reality that is then projected as video onto a physical form. The resulting work is a surreal projection filled with transcultural icons that exudes color and sensuality, in another words it is lush visual state of gluttony.

Artists Bios

Yaloo is a Korean artist based in Seoul and Chicago. She received her Master of Fine Art at the School of the Art Institute of Chicago (SAIC) in 2015 with a focus on digital image making and video installation. She was the first recipient of Lyn Blumenthal Memorial Fellowship, given by SAIC’s Video Data Bank. She won a gold award by AHL foundation, New York. Yaloo’s works have been part of number of solo and group shows and screenings in Chicago, New York, Seattle, Vancouver, British Columbia, Malmo, Sweden, and Seoul, South Korea. Her has received full residency fellowships at Headlands Arts Center, Bemis Studio Art Center, La Bande Video, Vermont Studio Center among other. She is also the recipient of AHL Foundation’s Contemporary Visual Art Award.

Taezoo Park holds an MFA from the Pratt Institute in Digital Arts and a BFA from Hong-Ik University in Animation. Park has been making artwork out of abandoned technology combined with digital code to bring to life an imagined unknown creature from inside machines. He calls this new life “Digital Being”. He has been working on finding and depicting these creature as a digitalogist, new media artist, and maker in New York City for the past 10 years. Park’s work has been featured at ABC news, BBC news, ACM Interactions, Open Journal System: Continent, Gizmodo, SciArt, World Maker Faire, CHI(Computer-Human Interaction), SPRING/BREAK Art Show, BRIC Arts Media, Moniker Art Fair, Contemporary Art Fair NYC, New Museum Ideas City, Governors Island Art Fair, DUMBO Arts Festival, Portal Art Fair at Federal Hall National Memorial, Harvestworks, Ca’ d’Oro Gallery, Clemente Center, ACE Hotel, Cornell University, Pratt DDA Gallery, Pratt Manhattan Gallery, Lower East Side Ecology Center, Northside Festival, World Trade Gallery, Made in NY Media Center by IFP, Barnes & Noble, AFA Gallery and World Trade Center.

Born in Bloomington, Indiana, Jeremiah Teipen currently lives and works in Brooklyn as an independent curator, artist and educator. Teipen received an MFA from the School of Visual Arts and a BFA from Columbus College of Art & Design, has been the recipient of several awards including grants from the Asian Cultural Council, SIGGRAPH, Seoul Foundation of Arts & Culture and Arts Council Korea. He has exhibited his work in the United States, Europe and Asia including shows at the Circulo De Bellas Artes, Madrid; Centro de Arte de Burgos; Tokyo National University of Fine Arts and Music; Gallery Factory, Seoul; Gwangju City Art Museum; Number 35 Gallery, New York; SUNY Purchase College, New York; Monmouth University, New Jersey and the Queens Museum, New York.

Curator Bio

Eun Young Choi holds an MFA from the School of Visual Arts and a BFA from the School of the Art Institute of Chicago. Choi’s work has been exhibited in numerous international venues including the Centro de Arte Contemporáneo de Caja de Burgos, Spain; Aguélimuséet, Sala, Sweden; Kunsthaus Dresden, Germany; Foundry, London, UK; Landmark Project, Tokyo, Japan; and has participated in the London Biennale and the Pocheon Asia Biennale. Some of her US venues include Reed Whipple Cultural Center in Las Vegas; Gardinia Gallery, Los Angeles; Chelsea Art Museum, Dean Project, Gallery Sixtyseven, Amelie A. Wallace Gallery, Taipei Cultural Center, PS 122 Gallery, and SPRING/BREAK Art Show in New York. Choi has organized exhibitions and performance events in collaboration with various organizations including the New Museum’s IDEAS CITY Festival, National Academy Museum, United Nations Headquarters, Asian American Art Centre, NARS Foundation, AHL Foundation, Cindy Rucker Gallery and Arario Gallery New York. Her programming and exhibitions have been featured in the New York Times, New York magazine, VOGUEmagazine, The Brooklyn Rail, Artcritical and numerous other media outlets. Choi is the Co-Founder of IA Curatorial Collective and a steering committee member of the Cultural Equity Group.


Category 6


Deric Carner, Molly Dilworth, and Scott Kiernan

Curated by the artists

September 28–December 7, 2018
Opening Reception, Friday September 28, 6-9 PM

Scientists have recently called for a new category of storm to be added to the Saffir-Simpson Scale. They argue that recent megastorms far exceed the power and rate of intensification of category 5 hurricanes. 215 mph winds are a strong sign that something categorically different is in the air. How do we interpret aberrant signs so clearly outside the scale of our experience? The enlightenment dream of human control over nature is rapidly turning into a nightmare of ecological blowback and systems out of control. Throw in democracies manipulated by stolen data and captured by demagogues, and you have a recipe for demoralization and the eclipse of the human era.

It is getting harder to know what’s going on and what’s real. How are we to respond to the shifting landscape of material and symbolic uncertainty? We can be alone at home, anxiously tunneling for a safe space, policing the chat rooms, designing counter-bots, or we can be out in the world seeking new connections and meanings. We can, like the artists in this show, acknowledge things outside the scale of what was known previously. These three artists use bricolage and known inputs to create entirely new configurations that feel familiar but frustrate categorization. Their work is grounded in studio materiality and a commitment to process and play. Their images and forms are mutant assemblages suggestive of alien bodies and lifestyles.

Scott Kiernan’s multi-channel videos play across stacked and side-by-side CRT monitors. The video loops breathe and mutate like organs or electro-organic storms. Resolutely abstract, the videos are made through real-time analog signal processes developed by Kiernan in his collaborative mobile television studio E.S.P. TV. Molly Dilworth is known for her high profile public art commissions throughout the country. But at home and in her studio, she pulps recycled paper, knits and collects objects found on the street. These elements join with cast bowls and IKEA stools to create strange and joyous sculptures. They feel both domestic and cosmic. One can imagine a race of photosynthesizing cat people enjoying these arrangements in their soft-walled grottos on a milder planet than ours. Deric Carner uses hard construction plaster and found metal to create supple body-like objects. He starts with a simple premise such as “shield” or “spare fingers,” and ends up with uncanny objects that are uncovered by maxing out the possibilities. Carner lives with and rearranges elements over months and years until he feels a thing has revealed its true form. There is a sense that each of these artists is reacting to a deranged world by creating work that sidesteps predictable linear logic. By following intuitive and responsive pathways they reveal traces of bodies and psyches under pressure.

About the Artists

Deric Carner has had solo shows at Romer Young Gallery, Trestle Projects, Four AM, Louis V E.S.P., and Tent. Rotterdam. Group shows include Present Company, NurtureArt, Louis B James, Participant Inc., EFA Project Space, Queen’s Nails Projects, Southern Exposure, Witte de With and CAC Vilnius. His piece “Touch Belly” was highlighted in Hyperallergic’s Best of 2017: Our Top 15 Brooklyn Art Shows. Carner holds a Masters from the Piet Zwart Institute, Rotterdam, NL, an MA from the University of Plymouth UK and a BFA from the University of California at Santa Cruz, CA. He is a MacDowell Fellow and an Artists Space IPG and SFAC Grant recipient.

From the rooftops of Brooklyn to the Pedestrian plazas of Times Square, Molly Dilworth has created outdoor site-specific paintings in New York City and exhibited across the United States. She has been an artist in residence at the Salina Art Center in Kansas, the Art & Law Program with the Volunteer Lawyers for the Arts, Recess Activities/Pioneer Works, Tulsa Artist Fellowship, Vermont Studio Center, Smack-Mellon and the LMCC Workspace Program. Her work was part of Spontaneous Interventions: design actions for the common good in the U.S. Pavilion at the 13th International Venice Architecture Biennale. Permanent public commissions include an exterior painting for the Garden at The James Hotel in Lower Manhattan, a painting covering the Parks Department building in Toledo, a temporary garden for a city block in Seattle, a permanent sculpture for a light rail station in Denver and permanent sculptures for a new university building in Portland.

Scott Kiernan founded and co-directed Louis V E.S.P., an artist-run gallery and performance space in New York City (2010-2012), and E.S.P. TV (2011-present), a nomadic TV studio that explores televisual language and develops artist collaborations for broadcast. He has exhibited and performed internationally in venues such as New Museum, Museum of Arts and Design, Swiss Institute/Contemporary Art, Storefront for Art and Architecture, Whitney Museum of American Art, P.S.122, Queens Museum, Pioneer Works, Anthology Film Archives, Harvard Art Museums, Ballroom Marfa, Yerba Buena Center for the Arts, and the Center for International Contemporary Art in Rome; and teaches in Hunter College’s Integrated Media Arts MFA program.





To look at the sea is to become what one is

Manal Abu-Shaheen & Oscar René Cornejo

Curated by Laura August

October 12 – November 24, 2018

Opening reception Friday, October 12, 6-9 pm

Pairing photographs by Manal Abu-Shaheen and small-scale sculptures by Oscar René Cornejo, To look at the sea is to become what one is considers ways of understanding place, somewhere between vision and memory, emotion and history, self-making and post-war forgetting. Together, Abu-Shaheen and Cornejo consider how we describe places that are impossible to return to–at least in the ways we remember them–despite their central importance in our emotional and intellectual lives. For both Abu-Shaheen and Cornejo, landscape and its materiality become a way of understanding what it means to be a post-war subject, or to come from a family fleeing war; both artists’ practices touch the edges of what we know about a place, a landscape, and its fluidity over time. The distance from which they see the places they are from (Lebanon and El Salvador, respectively) layer their works with series of questions about identity and knowledge. In Abu-Shaheen’s photographs, Beirut’s urban fabric is overlaid with advertising campaigns and flashy plans for new buildings; these images put an artificial polish over the city’s native architecture, its modern past, and its wartime ruins. Cornejo’s sculptures, made at the scale of the human heart, continue his longstanding interest in the materials of construction as metaphors for displacement and resilience. The exhibition takes its title from a book of poems by poet/painter/philosopher Etel Adnan, who writes, “Where do you want ghosts to reside?” Perhaps they reside in the landscape, burdened as it is with our dreams and buildings, or perhaps they linger around the materials of ruin and reconstruction. In either case, what Abu-Shaheen and Cornejo suggest is that these remembered landscapes are the phantoms we pursue to find ourselves.

Manal Abu-Shaheen (b. 1982, Beirut) is a Lebanese-American photographer currently living and working in Queens, NY. Her recent solo exhibitions include Theater of Dreams, Bernstein Gallery, Princeton University, NJ (2018), Beta World City, LORD LUDD, Philadelphia, PA (2017) and Familiar Stranger, A.I.R. Gallery, Brooklyn, NY (2017). Her work has been included in group exhibitions at The Society of Korean Photography, Seoul, Korea (2017); Queens Museum, Queens, NY (2016); The Center for Fine Art Photography, Fort Collins, CO (2016); The Bronx Museum of the Arts, Bronx, NY (2015); The Print Shop at MoMA PS1, Queens, NY (2014); and Camera Club of New York, NY (2013). She is a recipient of the Aaron Siskind Foundation Individual Photographer’s Fellowship Grant (2017), Jerome Foundation Travel and Study Grant (2017), Lower Manhattan Cultural Council Workspace Residency (2016), A.I.R Gallery Fellowship (2016), and Artist in the Marketplace Residency at the Bronx Museum of the Arts (2015). Abu-Shaheen holds a B.A from Sarah Lawrence College and an M.F.A in Photography from Yale School of Art. She teaches at The City College of New York.

Oscar René Cornejo (b. 1982, Houston, TX) earned an MFA from Yale School of Art (2011), a BFA from the Cooper Union (2005), and was a recipient of the J. William Fulbright Scholarship for research in El Salvador. In 2004, he cofounded the Latin American Community Art Project (LA CAPacidad), where for seven years he directed summer artist residencies to promote intercultural awareness through community art education. His work has been included in numerous exhibitions, including White Flag, at Princeton University’s Woodrow Wilson School of Public and International Affairs (2017), Collective Solid, Deborah Colton Gallery, Houston, TX (2015); and Parliament of Owls, Diverseworks, Houston, TX (2015). Cornejo has completed residencies at the Skowhegan School of Painting and Sculpture, where he has been a member of the staff since 2015, and at Lower Manhattan Cultural Council in 2016.

Dense bodies bend solid ground


April 27th – June 29th, 2018

Opening Reception April 27th, 6-9pm at Radiator Gallery

10-61 Jackson Avenue, Long Island City, New York


Lara Atallah, Leah Beeferman, Alta Buden, Carolyn Lambert

Curated by Rachel Steinberg

This exhibition brings together works from four artists that consider bodies – human, earthly, and political – through evidence of their edges. Conceptually, we are taught to understand a body as individual and whole as far as it is contained within its designated boundaries or skin. That there even exists a line dividing one’s feet from the dirt, one nation state from the next, or the sand from the sea, is a fiction, perpetuated by an oblique understanding of the material world.

The works employ photography, video, sculpture, performance, and text in order for different bodies to push or sink into one another. In each work, the dense, autonomous human body leaves a record of its emergence – a fusing together of material relationships over the breadth of time. Although each artist’s body itself is absent, its imprints and perspectives are what forms each work. The flexibility and porosity of these boundaries are experienced through the document of an impression, and made conspicuous by the futility of their capture.

Lara Atallah’s series 34.5531° N, 18.0480° E consists of Polaroids made along the Southern European and Western Asian coastlines, along with sun prints made from pebbles and small rocks, culled from the different beaches that were photographed. Bordered by over 20 countries, the Mediterranean is commonly perceived as a place for recreation and leisure, but the sea has become the only viable route to safer shores for the many refugees fleeing war zones. The Polaroids are all deliberately damaged within the first 30 seconds of their development, crushed between the artist’s hands or under her feet. The images themselves are devoid of any human depiction. Instead they infer a subtle violence in the emulsion’s veins and fissures. The sun prints are weighted for a period of time by pieces of the same landscape, but only the earth’s specter remains within the prints. Both the Polaroids and the sun prints attempt to capture the earthly materiality of a contentious political boundary, as well as the impressions from where they came into contact with light and the human body.

Leah Beeferman’s recent work considers boundaries and edges as human concepts. Her video, Coast Forms, uses the idea of a coastline to examine, and reimagine, our formal delineations of space. Borrowing notions from quantum physics, she posits a coast as forever shifting in time, space, and materiality. The fifteen-minute video pulls the viewer into different conceptions and arrangements of spacetime through a careful combination of reality and abstraction. She uses footage of waves hitting the shore overlaid with gestural digital forms to create fluidity between digital space, video documentation, and our own focused — yet blurry — acts of perception. In her accompanying newsprint piece, also titled Coast Forms, she uses speculative text, alongside terms from physics and geology, to reflect on overlaps between scientific and personal observation. Similar to the conceptual demarcation between sea and shore, we tend to see a boundary between these different types of looking — but perhaps, Beeferman suggests, we should not. In both works, she highlights the unfixed nature of something human logic has classified as a ‘line’, while pointing out the impossibility for us, at a human scale, to ever really capture such fixity.

Alta Buden is a Brooklyn-based visual artist concerned with the human relationship with our environment. Consisting of a series of sculptures made of rocks, concrete, light, and hand blown glass vessels, Intertidal traces the path of pollutants from the heart of Newtown Creek, a Brooklyn Superfund site contaminated in the 1800’s, from the Hudson River to the Atlantic Ocean where its pollutants become part of a global water entity. Integral to her process is the time spent at these shoreline sites, indexing objects that contain an untranslatable piece of their origin. Each glass vessel is supported by objects–rocks collected at the various sites and cement casts of the shore. Before the hand blown glass has solidified, she presses select pieces onto their support object, forging a relationship through the shared edge of glass and rock or cement – as if attempting to speed up the evolutionary fusion of these materials. Together they form a portrait of the legacy of pollution of a city, told through its shorelines. Lit to show their abstract reflections, and displayed in a style referencing a natural history museum, these objects illuminate the disconnect between knowledge and beauty through the interconnectedness of disparate things.

In Performance for a Permeable Body (toxicity, build-up, frottage, residue), Carolyn Lambert uses mark making as a performative gesture to think about the impact that humankind is having on the surface of our planet. Mixing a digestible form of carbon with her own saliva, she applies this residue to her arm and shoulder, then rubs it repeatedly on the wall. This action designates the surface of the wall as both stand-in for the skin and recipient of its residue, making visceral the porosity of the body. The remains of this gesture is a smudge. The mark is accompanied by a broadsheet connecting the action to a larger context of landscape and time.




Check out a live feed video from the event here.

Artwork Images 

Opening Images 

Brunch / Artist Meet & Greet

Sunday, March 11 at 11:30 am 
Join us for brunch at Radiator Gallery and meet and greet artists Maria Dimanshtein, JF Lynch, Nicholas Fraser and curator Patrick Neal who will be on hand to discuss the work in Night Regulation. The discussion will examine the role text plays in the artists’ own works, elaborating on forms of messaging, poetry and drawing as part of an artworks gestalt. The event will examine the existence of words within the context of the exhibition and studio practice in general, opening up the conversation to audience participation.

Artwork Images 

Night Regulation: Literati

Friday, March 30 at 7 pm 
While the exhibition Night Regulation considers a unique subset of possibilities where visual artists incorporate text into the substance of their works, Night Regulation: Literati will examine the flipside of this practice; poets and writers who work in relation to the visual arts. Teaching in art schools, working as practicing artists, collecting artwork or performing themselves, the evening will include readings by authors Maria Dimanshtein, Jeremy Sigler, Paige Taggart and Jeffrey Cyphers Wright. By contemplating and observing art and the creative process as facets of life, the writers similarly ponder varied aspects of the human condition, weaving these themes into poetry, stories, comedy and tragedy.

Check out a live feed video from the event here.

Gaza frequens libycos duxit karthago triumphos

Gaza frequens libycos duxit karthago triumphos:
a conversation between Federico Pérez Villoro and Roxana Fabius 

On January 26th, 7.30pm at Radiator Gallery please join artist and designer Federico Pérez Villoro for a conversation with curator Roxana Fabius. They will discuss IV — an exercise on performative writing and printing where Christopher Hamamoto and Federico Pérez Villoro highlight the secret codes that most consumer printers leave on their output, while looking back at centuries-old encrypting practices.

Pérez Villoro will present the work which, during the run of the show, explored the transitory condition of magic as it relates to technology and other forms of power. Viewers/readers in the gallery will have access to a series of near invisible materials by utilizing custom-made LED blue lights.
The event will mark the closing of the exhibition “Mage.”

About the exhibition “Mage”
November 17th 2017– January 26th 2018
Mage presents the work of Aron Louis Cohen, Dana Levy, Enrique Ramírez, and Erica Stoller.
The exhibition is accompanied by piece of performative writing and publishing by Christopher Hamamoto and Federico Pérez Villoro.
Organized by Roxana Fabius
Historically, a mage was defined as someone who possessed a special type of knowledge. A learned person, who could through language, manipulate objects and people, attaining the desired effect of their spell. Today, technologists with specialized knowledge write code that manages objects and people. However, our difficulties to understand the technologies we use, leave us in a position of impotence. The artists and designers included in the exhibition take a poetic stance at technological opacity, to playfully manage the seeming magic spells they cast around us.  
Dana Levy produced an archeological site in which layers of time are confounded, and fossils are brought to life, to reveal the relationship between mining interventions and the long-lasting results on the land. Aron Louis Cohen surgically dismembers tools only to reassemble them through the accumulation of their inside parts, thus creating a thick layer of transparent material that doesn’t let light through. This piece is accompanied by a meditative guide to the end of the world. Enrique Ramirez takes the viewer on a journey to the salt flats of Uyuni, Bolivia, where the sky and the earth are continuous with each other, and the elements of the shaman’s magical mask get a contemporary update. Erica Stoller built an installation made of the cables that wondrously disappear from our sight, while introducing the invisible pulses of energy we so much depend on in our daily life. Christopher Hamamoto and Federico Pérez Villoro disclose the secret codes that printers leave in all our documents, looking back at their relationship with centuries-old encrypting practices. This group of works focuses our attention on how technologies and infrastructures create a mysticism around their functions that is akin to magic, while projecting towards the past, present and future tools of the mage.

The exhibition is the New York premiere of “Pipelines and Sinkholes” by Levy and “Un Hombre que Camina” by Ramírez, which was exhibited at the 2017 Venice Biennale “Viva, Arte Viva.”
Mage is supported by the generous support of the Artis Grant Program
For more information please go to:


A Roll of the Dice

Performance by András Böröcz at the Radiator Gallery Project Space
10-61 Jackson Ave, LIC 11101
December 14, 2017, 7:30 pm

Videography by Klára Palotai, Live sound by László Gőz and Tibor Szemző

Andras Borocz will do a performance with 2 film projections and a live sound collaboration by Tibor Szemzo & Laszlo Goz. The walls of a parking lot in Greenpoint consisting of three by three by three-foot concrete blocks piled on top of each other, was the inspiration for this performance by Borocz. The artist continues his explorations as the idiot savant, presenting concrete poetry, a concrete cube costume, and cube boxes made of matzo, which he calls pandoras. These activities were documented by his long-time collaborator, Klara Palotai.

Böröcz started his art career in Budapest in the seventies. During the repressive 1950s, art was dominated by Social Realism. Following the defeat of the 1956 uprising, as János Kádár (the new communist leader) consolidated his power, a new system of cultural politics emerged in Hungary, defined by the so-called “Three T’s” of cultural activity: Támogatott (supported), Türt (tolerated), and Tiltott (prohibited).

Böröcz’s art practice fit into all three categories: After graduating with a degree in painting from the Budapest Academy of Fine Arts, he received the (supported) state-sponsored Derkovits Scholarship, a three-year grant for visual artists. As an active member of Fafej and Indigo (two underground art groups), he created experimental, multimedia performances, which were either tolerated or prohibited.

Böröcz moved to New York City in 1985 where he started to carve wood. In the nineties, Böröcz fell in love with the pencil, as he saw its potential as a material created from a tool. His exploration began with small single totemistic pencil figures and escalated to the creation of large organic plant-like forms from thousands of laminated pencils. Over the years he has continued to make sculptures from a range of common materials, such as corks, bread, toilet plungers, eggs, etc.

Böröcz continues to make multimedia performances. His performances have two basic parts:
1, documentary video, 2, live performance with video projection.

His artwork is represented by the Pavel Zoubok Gallery in Chelsea.

Klára Palotai is a videographer and was a member of the former Squat Theatre.

Tibor Szemző and László Gőz were the founders of the Group 180 contemporary music ensemble at the time.

The program is organized as part of the official closing event of the HCC’s Counter/Culture programming series focusing on Hungarian artistic resistance during State Socialism.

Night Regulation / Storytelling in the Land of Text, Identity and Pictures

February 2 – April 20, 2018
Opening Reception February 2, 6-9pm at Radiator Gallery

Loren Britton, Maria Dimanshtein, Nicholas Fraser, JF Lynch and Andrew Prayzner

Curated by Patrick Neal

Different media comprising the visual arts like painting, drawing or sculpture have their own
constitutive language. One can list off, color, line, value, texture, viscosity, composition as formal
components with which an image reveals itself. So too, does literature in the form of morphology,
syntax, phonetics and semantics. During the heights of Modernism it was sometimes considered a
fraught ground to mix these two distinct systems, diluting one at the expense of the other. In our
more permissive art climate of the twenty tens, this sort of cross pollination between words and
pictures is not only considered healthy, but essential to convey a climate of image saturation,
global and digital networks, and physical and virtual modes of representation.

The aesthetic coexistence of words and pictures dates back to ancient cultures and reached a high-
water mark with Conceptual Art of the sixties where linguistics sought to elevate idea over form.

Text-based art of that period traded in philosophical puzzles that sought a distillation aimed at
revealing the true essence of art. In the twenty-first century, this approach has proven to be too
reductive, and the purview of words has come full circle, serving as verbiage, image and substrate.
Without the imposition of a doctrinaire ideology, text based visual art straddles abstraction,
figuration and conceptualism and the studio practice of artists cuts across a broad swathe of art
history and media. Words and pictures are mined from the contemporary urban landscape as text
messages, Instagram posts, Google and dark web searches, photos, research, ephemera and
taxonomy, grant applications, philosophy, fake news, protest banners, computer bots, poetry,
prose, novellas, pictographs, logos, graffiti, classifieds, dating apps, computer code, the Second
Amendment, junk mail, phishing spam, fairy tales and cartoons.
Andrew Prayzner draws on sourced images like snapshots or postcards as subjects to ground
his own paintings, then disrupts his compositions by scrawling words across the surfaces. Pictures
of ambiguous locales or clichéd sunsets are paired with sharp, clear phrases; words like ESTEEM,
DEVIL, FROG N SCORPION stylishly unfurl across the field of the painting. Private axioms writ
large are mingled with hand painted, albeit found imagery, suggesting a quest for sincerity in the
midst of a simulated mediascape. An authentic attempt at feeling and communication struggles
against an ocean of mass production and the shortcomings and abuse of language to convey truth.

Loren Britton massages the poetic associations between words, paint and paper, into abstract
works that tenderly contemplate the gender fluid body. Distinctly aware of the symbols and
codification of sexual signification, Britton mingles color, texture and material with sign language,
poetry, and notation in sensually evocative ways. Working within the spaces of shifting venues,
time constraints, budgets and current events, they embrace a lo-fi craft and stay open to creative
happenstance. For Night Regulation, Britton has created a site-specific installation, where cursive
hand written text, absorbed into paper pulp sculptures is set against a wall covering that utilizes
the unique confines of the gallery.

The attempt to ignite romance through public message boards or dating apps, makes its way into
Nicholas Fraser’s Left Hanging series. Fraser, long interested in the variety of soulless junk
communication (spam, phishing, bots, Internet dating) that pervades our lives, juxtaposes these
with soulful attempts at human connection. Working with hanging banners, he cuts personal
intimate correspondence into the surfaces that are equally sad and hilarious. Lit from above, and
using warped letterforms and distorted blocks of text, his black, tyvek banners cast shadows with
a permanence that rivals the fragility of the conversation. Other banners advertising Rap, Reggae
and Bollywood performance are overlaid with letterforms in a “Tower of Babel” style mishmash
that confuses public and private expression.

“Night Regulation” are the words found on signs along city streets warning drivers someone is
watching and that their cars could be towed in the wee hours if they violate parking restrictions.
It’s also a delightfully grandiose man-made proclamation, as if humans can control the heavens.
This sort of hubristic ambiguity is not lost on the artist Maria Dimanshtein who likes to
confront viewers with direct, existential truisms and dry humor. Working in a monochromatic
palette of black, white and silver, Dimanshtein arranges letters, words and phrases in sequential
grids that read like prose poems or pages from children’s books. Assembled in bookform, she
arranges words next to symbols to convey the mundane and cosmic aspects of the human

JF Lynch teases words into pictographs and drawings into primal utterances, digging for the
precise point where the act of writing becomes the act of drawing. His works have an assertive
physicality sometimes originating in studies from polymer clay letter maquettes; hybrids of art
and text. Lynch is attuned to the creative revelations dislodged from idle wandering,
disorientation, free association, brainstorming, and multi-tasking and organically cycles among
charcoal on paper, modeled clay, photography, mural, relief assemblage and video. These
different processes and materials literally rub off on one another and Lynch’s large word drawings
and sculptures dominate physical space, removing the barriers between writing, drawing,
sculpture and site-specific installation.

Patrick Neal is a NYC based curator, arts writer and painter. In 2016, he organized Beautiful
Object: Upsetting Still Life at Jeffrey Leder Gallery in Queens, NY, a show of contemporary still
life painting and sculpture. He served as curator of the Chocolate Factory’s art gallery in Long
Island City, NY during the Spring and Fall Seasons of 2007. Neal is a contributing writer for
Hyperallergic and has written monographs on artists Franklin Evans, Zoe Pettijohn Schade and
recently Scott Schnepf for Tether arts journal. Neal’s own painting and catalog essay will
accompany the upcoming exhibition, The Nature Lab at LABspace in Hillsdale, NY and he will
have a solo show at the Oresman Gallery, Smith College, Northampton, MA in December 2018.





Check out a live feed video from the opening here.

Opening Reception

Artwork Images 


Space Odyssey: Beyond Material Confinements, Brunch/Exhibition Walkthrough

Screening by Claudia Hart and Susan Silas

November 5th 2017, Noon at Radiator Gallery
10-61 Jackson Ave LIC, New York

RadiatorArts is pleased to present an exhibition walkthrough and video screening brunch on Sunday, November 5th at noon with participating artists Shanjana Mahmud and Nadja Verena Marcin. The event is part of the exhibition Space Odyssey: Beyond Material Confinements, curated by Nadja Marcin exploring themes like artificial intelligence, gravity, the explosion of movement and feminine architecture. Beginning with Stanley Kubrick’s film 2001: A Space Odyssey (1968), as a reference point, Marcin considers the four artists as a Monolithic mastermind via their collective brain trust. Suggesting that the age of globalization has brought new invisible walls—harmful to society—the show stages manifestations that perforate existing walls and search for those that are invisible.

The walkthrough will be followed by a screening of Claudia Hart’s Dark Knight, 2012 and Susan Silas’s TORSOS, 2017. Marcin invited Susan Silas to screen a work related to theme of the exhibition and she in turn suggested the pairing of herself with Claudia Hart and added this commentary:

When we think of walls we often think of fortifications. Trump’s absurd border wall between the U.S. and Mexico, the wall the Israeli’s built as a barrier along the West Bank green line, the Great Wall of China; the one man made structure that is visible from outer space. And yet, the primary wall of our experience is in fact our own skin. It is the separation wall between ourselves and everything else we experience. It defines the location of the self. Now we are thinking seriously about breaching this wall with new technologies. People have talked of outer body experiences before, usually in spiritual testimonials. But now we are considering leaving the boundary wall of the body altogether and uploading our brains to computers.

We practice for this penultimate event more and more often now, through the imagining of androids and replicants, through the creation of computer code, in the advancements of artificial intelligence and by visiting 3D spaces with VR headsets on. Will we simply merge with our fantasies and artificial creations? It is an open question whether or not we will take the unconscious with us on our journey into the computer. The unconscious is thought to reside in the body, as does the DNA of nearly “everything that came before us: except in the realm of insects, the whole history of life on earth is inscribed within our bodies.” Will we exchange that archival database, as coder Ellen Ullman calls the body, and the unconscious, for immortality?

Claudia Hart and Susan Silas come at these issues from nearly diametrically opposite directions in the two short videos presented here. In Claudia Hart’s Dark Knight, 2012 an animated female figure bangs endlessly against a wall that is invisible to the audience. The figure appears to be attempting an escape from the virtual world. Once inside, will we be desperate to get out? If we have tossed our bodies, what will we escape to? Susan Silas’s TORSOS, 2017 was created using digital tools, but is, in essence, a meditation on the analog world. She considers the limitations of the physical body; its slow decay and transformation into matter no longer recognizable to us as the self that once inhabited an individual body.

At the same time, we watch the destruction of the physical world happening at a madcap rate and it may be that the only form of survival available to us will be cold storage in a computer cloud farm owned by Google or Facebook. Will we too dream of electric sheep?

For more information on the exhibition please go to: