GROUP EXHIBITION

Mel Bochner’s text-based monoprints, Jill Baroff’s tide-derived works on handmade gampi paper, and Andrew Bick’s large handmade tapestry translate language, data, and geometric systems into tactile form. Felipe Mujica’s hand-dyed textile flags and Henrik Eiben’s mixed-media compositions embrace light, inviting shifts as the viewer moves. Stefana McClure’s pieces—loosely based on Japanese colour-vision tests—reflect the artist’s long engagement with Japan and a sustained interest in perception.

Beat Zoderer’s colourful, three-dimensional constructions play with spatial perception and formal rigour; in this instance, those concerns are translated onto a two-dimensional plane. Susan Morris’s data-driven works on paper, Florian Baudrexel’s folded cardboard reliefs, and Alan Johnston’s large-scale painting made in the US in the late 1980s probe structure, rhythm, and the way surfaces register light.

Clay Ketter is represented by two works: a large-scale photograph from the Madre Verduta Series, composed of a myriad of carefully arranged and heavily manipulated images based on photographs the artist took in Naples, and a recent painting engaging Alfred H. Barr Jr.‘s influential “Cubism and Abstract Art” diagram. Ethan Cook’s woven cotton abstractions and Giulia Ricci’s precise, pattern-based works on paper extend a dialogue with geometry and optical attention. Mike Meiré’s large oil painting on a carpet, THE WEATHER REPORT, directly addresses a central theme of this presentation.

Seen together, these works form a focused, playful cross-section of our programme—inviting collectors to explore connections across media and to consider how light, colour, and weather shape visual experience.