
Sterling Ruby’s multifaceted practice is defined by its sustained engagement with our chaotic present. For over two decades, his work has explored themes of violence, confinement and societal pressures through a consistent focus on material and artistic process.
Atropa, featuring all new works by Ruby, is named for the nightshade genus (commonly known as deadly nightshade) that references Atropos – the Greek Fate who cuts the thread of life to bring death. The exhibition engages with the paradox the plant embodies: lethally toxic yet medicinally valuable, a convergence of destruction and restoration.
New graphite drawings represent the culmination of a series Ruby began thirty years ago, characterized by their palimpsestic quality. Executed with raw energy and painstaking labor, these works prioritize instinctive gesture and automatic drawing over conventional representation. Arising from dense layers of frenetic lines, erasing and smudging, rhythmic textures coalesce into botanical forms, offering fragile glimpses of nature within their turbulent surfaces.
“Flowers have become these memorials — icons of things changing and ceasing.” –Sterling Ruby
Building upon Ruby’s obsessive mark-making, the pen-and-ink drawings deploy delicate, rapid lines that burst into dark, compulsive voids, from which petal and leaf shapes materialize. Rendered with relentless intensity, each motif collapses the boundary between what is seen and what is imagined—figuration emerging as a byproduct of the drawing process itself.




Known for his red stalagmite-like structures, Ruby's practice is foremost an exploration of material possibility. The analogy his forms draw with landscapes and the romantic tradition of painting is also offered by the artist. Working across sculpture, video, installation, ceramics and painting, Ruby seeks to augment that ideology by offering a reversal of its premises. The sublime imagery of Friedrich and Turner is supplemented with a schizophrenic vision of American iconography and biomorphic forms. His references to Dadaist principles and Minimalist serials are disrupted by an iconoclastic tendency. Ruby's works do not simply defy art history, they seek to offend it.

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