Essex Flowers

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	<pubDate>Tue, 10 Mar 2026 13:01:03 +0000</pubDate>
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FLOWERS</description>
		
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		<description>19 MONROE STREETNEW YORK, NY

INFO@ESSEXFLOWERS.US
The gallery is open Saturdays + Sundays 12 - 6 PM and by appointment.
 Click here to be added to our mailing list.Essex Flowers' front entrance and front gallery are wheelchair accessible. Our back gallery is accessible through a side entrance (please speak with the gallery sitter upon arrival). Our bathroom is not wheelchair accessible.


	&#38;nbsp;

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Magic Lantern


Zachary Fabri, Benin Ford, Fabienne Lasserre, Jonathan Miralda and Andrés Villalobos, Richard Roth, Carolina Saquel, Maria Walker


Curated by Calvin BurtonNovember 11 - December 11, 2022Opening Reception:&#38;nbsp; Friday, November 11, 6 - 8pm


Performance by Zachary Fabri:&#38;nbsp; Sunday, November 20, 2:30pm


For the mass loomed before her; it protruded; she felt it pressing on her eyeballs.

-Virginia Woolf, To the Lighthouse

A parable tells the story of a group of blind men who have never heard of an elephant and are given an opportunity to imagine what an elephant is by touching one. Approaching from different sides, each man touches only one part of the animal’s body—trunk, leg, tusk, torso—and arrives at a different conclusion: it must be a snake, a tree, a spear, a boulder. Each man is convinced he is right and the others wrong.


It isn’t possible to apprehend the whole picture, so we work with the parts available to us. Our mind tends to make sense of the unfamiliar by reaching for the familiar, creating ballast in an unsteady world. And so the center of things eludes us. But while the mind is adept at interpreting experience, our bodies remain subject to forces beyond our ability to rationalize or explain. In the realm of the sensory, then, we may hope to find alternate routes, through a broader array of perspectives and towards a deeper awareness of the relationship of parts to whole.


This exhibition gathers work that suggests a connection between the body and its surroundings through the senses of sight and touch, and their conflation in the haptic. Haptic seeing, or “touching with the eyes,” is a form of close viewing (in contrast to “optical” vision, which can be understood as seeing from a distance). As described by psychologist James J. Gibson, “the haptic is the sensory system through which one feels an object [relative] to the body and the body relative to an object… and by which… one is literally in touch with the environment.” Haptically-charged objects implicate the body, both in their form, and in their reception by the subject. Bypassing the brain, such objects act directly upon the central nervous system, placing bodily sensation at the center of experience. 


Painting and video both carry a tension between what we see and what is there. For painting, such tension is rooted in the co-experience of two and three dimensions. Richard Roth’s small painted cuboids amplify this paradox by integrating precisely-scaled geometric motifs across the rectangular facets—front, sides, bottom, top. While the crisp, hyperflat (almost virtual) surfaces seem contrived to provoke a purely optical response, the extension of volume into the viewer’s space subverts our tendency to merely look; we must contend with an object. The paintings seem to follow us as we move through the room. 


Whereas Roth’s calibrated design pushes seeing to the point of touching, both Maria Walker’s and Fabienne Lasserre’s processes move from the opposite direction: intuitively, through contact with materials. Walker sets up the formal conditions for her paintings prior to stretching the canvas by “drawing” on the stretcher with protruding pieces of wood. The resulting topography—often in a circular arrangement, with a combined centrifugal and centering force—subjects thin washes of color to the contingencies of gravity and viscosity. Acutely human in scale, these paintings compress time, and the flow of feeling and emotion that accompanies it, into matter. Lasserre welds her steel supports and incorporates other industrial elements, such as vinyl and fiberglass, inscribing visceral form and gesture within soaring curvilinear vectors. These conjunctions of weight and flight, like a dusty window (or mirror or lens), prompt the viewer to see something beyond (or through) the frame, while asserting their place in the world of objects.


Benin Ford approaches the tradition of oil painting with images drawn from the TV shows of Black American popular culture of the 1970s and 80s that he grew up on, including Roots, Good Times, What’s Happening, and The Cosby Show. Not taking the image for granted, Ford brings renewed forces to bear on the protocols of representation, levering his sources towards a deeper reconstruction, layer-by-layer, of television light itself. Materializing the ephemeral glow of cathode ray tubes, the artist coaxes rote scripted moments into haunted fragments of memory.


Zachary Fabri's and Carolina Saquel's use of the moving image also activates possibility within, and for, the senses. In Fabri’s video Mim Andar Avenida Canadá, filmed during a residency in a rural area of Minas Gerais, Brazil, the artist walks through a desolate industrial field, his all-white clothes collecting iron-rich dust. The camera, framing orange ground and blue sky, follows a body in rhythmic motion, exchanging physical traces, and ultimately merging with, the external world. For Back to Front Landscape, Saquel fixed a camera to the back of a car to film the dust cloud produced while driving on a dirt road in Sardinia, Italy; in the final video this footage is played in reverse. As it elongates the moment of becoming, the piece also depicts an obscuring of vision, evoking the limitations of sight conveyed by Wallace Stevens in Poem Written At Morning:

 	 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;The truth must beThat you do not see, you experience, you feel,That the buxom eye brings merely its elementTo the total thing, a shapeless giant forcedUpward.

Fabri’s video also incorporates reverse playback, which, like Saquel’s work, draws attention both to the physics of the camera and the composition of the material filmed—for both artists, dust. Fabri’s tossing of dirt into the wind, inverted, becomes a capturing of clouds, and suggests a return to the earth of the extracted iron for which this mining region is known. Saquel’s simple gesture, meanwhile, synthesizes past and future time, leaving us in a perpetual present, as if our eyes were seeing for the first time. 


If dust is both a subject and an object in the videos, it is also the basis for the pigments used in paint and ink. Suspended in liquid and spread across a surface, pigment doesn’t lose its geological valence, even as it is received by the eye as color. Andrés Villalobos and Jonathan Miralda activate this condition explicitly in their collaborative Perfume series, which presents vignettes and light phenomena drawn from the layered urban experience of Mexico City. In these drawings, the projected “dust” of the airbrush becomes an analog for the function of the eye: particles of light passing through the pupil become particles of pigment sprayed from a nozzle; a projection of light becomes a projection of matter. The nature of dust is to reveal as it conceals; simultaneously of earth and air, it presides over the exhibition. 


The title of the exhibition refers to a technological predecessor to the stereopticon and stereoscope. Two identical "slides" (which, prior to the invention of photography, were hand-painted on glass) were projected together on a wall to create a “three-dimensional” image. The light source for the projections was originally a flame (the "lantern"). It is tempting to imagine that these images, though composed purely of light, were in fact corporeal, and that this momentary embodiment of form, though explicable in scientific terms, could not be completely extricated from the presence of some unknowable force, what some might call “magic.”


The materialization of sight (or visualization of touch) is more than just the co-experience of two senses—it is closer to a new (sixth) sense, a kind of supra-sensorial activity. Such sensory amplification pushes us beyond knowing in the conventional sense to a point where we can no longer rely on our cognitive faculties—a short-circuiting of the mind’s ability to convert experience into knowledge. Connecting with the unknowable, we unlearn something, leaving space for alternatives to understanding, and even possibilities for reconciliation. 


–&#38;nbsp; Text by Calvin Burton


Images: Carolina Saquel, Untitled (Landscape), photography. 2014–2016. Reflections upon landscape, vision, movement /stillness. Dust. The repetition of (almost) the same. 2018.

______________________________________________


Zachary Fabri is an interdisciplinary artist engaged in lens-based media, language systems, and public space, often complicating the boundaries of studio research, and social practice. This context specificity often yields work that includes video, performance, photography,&#38;nbsp;installation, and design. He is the recipient of awards that include The Louis Comfort Tiffany Foundation Award, the Franklin Furnace Fund for Performance Art, the New York Foundation for the Arts fellowship, and the BRIC Colene Brown Art Prize. Fabri’s work has been exhibited at Ludwig Museum (Budapest), Recess (Brooklyn), Art in General (NY), The Studio Museum in Harlem, El Museo del Barrio (NY), The Walker Art Center (Minneapolis), The Brooklyn Museum, The Barnes&#38;nbsp;Foundation (Philadelphia), and Performa. He has collaborated on projects at the Museum of Modern Art (NY), the Sharjah Biennial (UAE), and Pace gallery (NY). He recently completed a solo exhibition at CUE Art foundation in 2022 in New York.


Benin Ford was born in Memphis, TN, and is currently based in Brooklyn, NY. He was a recipient of the Joan Mitchell Foundation’s Painters and Sculptors Grant in 2013. Ford has recently collaborated with choreographer Nia Love on the research platform and serial performance project g1(host), concerning the material and gestural afterlives of transatlantic slavery. His current painting projects continue to explore the political and visual unconscious of 1970s and 80s commercial network television. His current writing projects include an extended essay on the resonances of J. M. W. Turner’s Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On and contemporary black art and thought. He has guest lectured at New York University and the University of Massachusetts, Amherst. He received an MFA/MS in Painting and Art History from Pratt Institute.


Fabienne Lasserre, a 2019 John Simon Guggenheim Fellowship recipient, received her MFA from Columbia University. Her recent show, Eye Contact, TURN Gallery (NY), was reviewed by Anthony Hawley in artpapers. Other recent exhibits were held at Hallwalls Contemporary Arts Center, (Buffalo); Parisian Laundry Gallery (Montreal); and Palazzo Costa Tretenerro (Piacenza, Italy). Two-person exhibits include Safe Gallery, with Annette Wehrhahn (NY), and 315 Gallery, with Ezra Tessler (NY). Lasserre has participated in numerous group exhibitions including Ceysson de Bénétière (Luxembourg); Contemporary Arts Museum (Houston); Museo de Antioquia (Medellin), and Musée d’art contemporain de Montréal. In 2017, she was awarded the Saint-Gaudens Memorial Fellowship to produce two outdoor sculptures for the grounds of the park. In 2016-17, she received a Sharpe-Walentas Studio Program award. She is Director of the low-residency graduate program MFA in Studio Arts at MICA in Baltimore. Lasserre lives and works in Brooklyn.


Jonathan Miralda Fuksman was born in Mexico City, where he currently lives and works. He received his Bachelor's degree in Visual Art from the ENPEG "La Esmeralda" in Mexico City. He has received grants from FONCA (2009, 2010) and la Fundación Colección Jumex (2007). Exhibitions include guadalajara90210 (Mexico City); Museo del Pueblo de Guanajuato; GAM (Mexico City); Museo Carrillo Gil (Mexico City); MUSAS (Sonora); Estudio Marte 221 (Mexico City); Galería MERCADO NEGRO (Puebla); Galería Toca (Mexico City); Paseo de las Artes Pedro de Mendoza (Buenos Aires); and ESPAC (Mexico City).


Richard Roth’s work has been exhibited nationally and internationally. His exhibitions include Valletta Contemporary (Malta); Galerie Rob de Vries (The Netherlands); The Suburban (Oak Park, IL); Rocket Gallery (London); the Virginia Museum of Fine Arts; Reynolds Gallery (Richmond, VA); Feigen, Inc. (Chicago); the Whitney Museum of American Art (NY); OK Harris Gallery (NY); and Castelli Warehouse (NY). In 1991 he was the recipient of a Visual Artists Fellowship in Painting from the National Endowment for the Arts. He is the co-editor of the book, Beauty is Nowhere: Ethical Issues in Art and Design. His debut novel, NoLab, was published in 2019 by Owl Canyon Press. He received an MFA from the Tyler School of Art and a BFA from The Cooper Union. 


Carolina Saquel is a Paris-based visual artist and former lawyer. In 2003 she was selected in Le Fresnoy (France), a two years program that focuses on crossing fields between contemporary art and cinema. She uses the moving image as a medium for altering perceptions of temporality of seemingly unimportant events. Bodily gestures, the history of painting, nature stripped of human presence and cinematographic as well as literary references are points of departure for her video and photography. Her work has transitioned from reflections on painting- the frame as a window to the world- to what could be considered a sculptural use of the moving image. Included in various private and public collections internationally, her work has been shown in exhibitions and film/video festivals and screenings around the world, including Espai 13, Fundació Joan Miró, (Barcelona); Kadist Art Foundation (Paris); Harbourfront Centre (Toronto); Musée d’Art Moderne et Contemporain de Strasbourg; Grand Palais (Paris); Espace Culturel Louis Vuitton (Paris); Bloomberg Space (London); and Württembergischer Kunstverein (Stuttgart).


Andrés Villalobos Cuevas was born in Mexico City, where he currently lives and works. He received his Bachelor's degree in Visual Art from the UNAM. Villalobos has participated in various collaborative projects, including the Taller de Imágenes en Movimiento del Centro Multimedia (2000, 2006), and he was a founding member of the artist cooperatives Cráter Invertido (2012-2020) and Vacaciones de trabajo (2019-present), and has been a member of Arts Collaboratory Network since 2015. He has published three book collections through funding from FPCC (2015, 2018); has organized two animation conferences with support from IMCINE (2016, 2017); and has received various grants from FONCA (2017, 2016, 2014, 2003). He is currently editor of Siempreeshoy, a collective newspaper. Exhibitions of his work include Documenta 15 (Kassel), Museo Carrillo Gil (Mexico City), MUSAS (Sonora), Leopold Museum (Viena), Galería Toca (Mexico City), Gwangju Biennal (Korea); Yakarta Biennial (2015), Venice Biennal (2015), Museo Universitario del Chopo (Mexico City), and Museo de Arte Moderno (Mexico City). 


Maria Walker received her MFA in Painting from Tyler School of Art and her BA in Visual Art from Brown University, where she also completed a Capstone Project in Poetry. In 2011 she attended the Skowhegan School for Painting and Sculpture. Walker’s work has been published in the Smithsonian Magazine and reviewed as a Critic’s Pick on Artforum.com. Her paintings and poems have been featured on numerous other sites including The Brooklyn Rail and New American Paintings, and her work has been shown widely in the United States, including in New York, Los Angeles, Chicago, Philadelphia, Baltimore, and Provincetown. Walker lives and works in Bronx, NY.Calvin Burton lives and works in Brooklyn. &#38;nbsp;Previous curatorial projects include Present Company (Brooklyn) and Spring Break Art Fair (New York). &#38;nbsp;Exhibitions of his work include Reynolds Gallery (Richmond), Tappeto Volante Projects (Brooklyn),&#38;nbsp;&#38;nbsp;Present Company (Brooklyn), Jack Hanley Gallery (New York), Cuchifritos (New York), Branch Gallery (Durham), Samson Projects (Boston), The Bronx Museum (Bronx), ADA Gallery (Richmond), Raw &#38;amp; Co. (Cleveland), Second Street Gallery (Charlottesville), and Galería Ramón Alva de la Canal (Xalapa).
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		<pubDate>Fri, 20 Nov 2020 15:29:35 +0000</pubDate>

		<dc:creator>Essex Flowers</dc:creator>

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		<title>EXPIRED</title>
				
		<link>https://essexflowers.us/EXPIRED</link>

		<pubDate>Thu, 05 Feb 2026 19:15:09 +0000</pubDate>

		<dc:creator>Essex Flowers</dc:creator>

		<guid isPermaLink="true">https://essexflowers.us/EXPIRED</guid>

		<description>apexart @ essex flowersEXPIRED
February 7  - March 7, 2026Opening Reception: Saturday, February 7, 6 - 8pm
&#60;img width="2593" height="2562" width_o="2593" height_o="2562" data-src="https://freight.cargo.site/t/original/i/f5ffc8f82fa8ef8a48da8875f06773085570a52365f649cf957c61cb727638c8/Saft_BedtimeMask_2024_AcrylicOnCanvas_20x20inches.jpg" data-mid="244487347" border="0"  src="https://freight.cargo.site/w/1000/i/f5ffc8f82fa8ef8a48da8875f06773085570a52365f649cf957c61cb727638c8/Saft_BedtimeMask_2024_AcrylicOnCanvas_20x20inches.jpg" /&#62;
Carol Saft, Bedtime Mask, 2024

Acrylic on canvas, 20 × 20”&#38;nbsp;Curated by Roxanne WolanczykFeaturing work by Carol Saft, Kenneth Zoran Curwood and Roxanne Wolanczyk

EXPIRED looks at how aging is framed in a culture that often treats relevance as temporary and youth as a requirement for visibility. The title plays on the dual meaning of expired: a Gen Z term for being past one's prime and a clinical expression for death. The exhibition asks how we confront time, transformation, and the inevitability of mortality.

Saft's intimate paintings depict her wife beneath a red LED skincare mask, a tool marketed for rejuvenation. The glowing portraits convey tenderness while revealing the internalized pressures placed on aging bodies, turning self-care into a ritual shaped by cultural expectations.

Curwood contributes multimedia works focused on obsolescence and time's passage. A mounted leaf slowly decays, and an analog sculpture modeled after an Amazon Echo humorously reflects the disconnect between older generations and rapidly changing technology.

Wolanczyk presents text-based ceramic vessels that blend classical form with personal declaration. These works acknowledge both fragility and endurance as time reshapes the body and identity. They assert that relevance does not expire and claim space for continued transformation.
 
A curatorial tour will be held on Instagram Live at 5pm on February 7th. Tune in here: @apexartnyc

EXPIRED was selected through apexart’s Open Call (291 Church Street New York, NY 10013). For more information visit https://apexart.org/wolanczyk.php or contact maryam.ghoreishi@apexart.org
EXPIRED gallery hours: Thursday - Sunday, 11am - 6pm

PUBLIC PROGRAMMING
Penny Arcade: Use By Due Date

Penny Arcade presents a short performance in conjunction with Expired. Across a career spanning five decades, her work has confronted cultural expectations with wit, urgency, and incisive honesty. Her presence in the gallery affirms endurance—an artistic practice that continues to evolve, resisting erasure and expiration.Bio: Penny Arcade (Susana Ventura) is a New York–based performance artist, writer, and theater maker whose long-form, text-based work bridges experimental theater and performance art. Centered on community and cultural critique, her practice has established her as a true original on the mainstream international stage.

In the Time That Remains — Closing Reception with Laetitia Barbier

During the closing reception, visitors may reserve a brief private tarot session with Laetitia Barbier. Sessions take place in a quiet area toward the rear of the exhibition and are offered as part of the exhibition’s closing program. The gallery remains open and social, with the curator present throughout.Tarot sessions are by reservation, with walk-ins pending availability.
Bio: Laetitia Barbier is an independent scholar, tarot reader, and teacher with a background in art history. Formerly the programming director at Morbid Anatomy, she is the author of Tarot and Divination Cards: A Visual Archive (2021) and regularly collaborates with artists and cultural institutions.


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	<item>
		<title>PAST</title>
				
		<link>https://essexflowers.us/PAST</link>

		<pubDate>Thu, 31 May 2018 12:33:14 +0000</pubDate>

		<dc:creator>Essex Flowers</dc:creator>

		<guid isPermaLink="true">https://essexflowers.us/PAST</guid>

		<description>PAST EXHIBITIONS

DOG NIGHTS&#38;nbsp;
EXPIRED
Aaron Krach: Everything Is Different Now&#38;nbsp;

Camilla Padgitt-Coles: Ivy Meadows Sound &#38;amp; Light HealingE.E. Ikeler: Horror Vacui
Dino Takashi: island to URLand
Essex Flowers Flowers Festival 2025
Overhang 2
Anne Marie Rooney + Julia Rooney: FLATSXinan Helen Ran: Silk CompassErnest Arthur Bryant III: NEW BLACK MEDIA
The Second Room
Human Mountain
JANUS
THE SKY’S FURY MIRRORS MINE: Art &#38;amp; the Archive of Indeterminate Release
Andrea Blum: MANILA
Sara Stern: sand plays itself
Essex Flowers Flower Festival 2024
Felix Kindermann: Social Inventories

Christopher Corey Allen: Who Do You Think They’re Fooling: You?
Laura Bernstein: The Curse of St. Vitus and the Rat-Catcher
Linnea Vedder: The Earth Wants You Back
Baruck Racine Arellano:&#38;nbsp;Caminando con silencio / Walking with silence

Sara Murphy: Tuning
Jamie Chan and Sonya Derman: Indoor Interference
Essex Flowers Holiday Auction
ALPHABET SOUP
Jonathan Ehrenberg: Half and Half is a Vampire Laugh
Stephen Laub: The Daily Mirror
Essex Flowers Flowers Fest 2023
Perennials: 10 Years of Essex Flowers
Nancy Powhida: Oh Dear! Our Life was Like a Horror Show! (No Wonder You had to Learn to be Resourceful)

Camilla Padgitt-Coles: Arco Íris
Xinan Helen Ran: 7000SEEDS
Samara Kupferberg: Wander Any Way
Poyen Wang: Endearing Insanity
Essex Flowers Popup Shop 2022
Magic Lantern
Laura Bernstein: Hell Mouth
Pooneh Maghazehe: Middleman
Essex Flowers Flowers Fest 2022
Jonathan Ehrenberg: The Capital of Fine is OKStephen Derrickson: Danger in Paradise
Seung-Min Lee and Michael Smith: ill-suited
Sean McCarthy: Living, Breathing
a circle is a thought pattern
E.E. Ikeler: I AM NATURE
Janine Polak: Swerve
Kristen Jensen &#38;amp; Emil Robinson: Flex Warrior
Ester Partegàs &#38;amp; Claire Watson: GuardianEssex FLowers Flowers Fest 2021
Amogus&#38;nbsp;

Cut-Ups
Kathryn Kerr: Mosquito Valley

Ben Hall:&#38;nbsp;Jives &#38;amp; Gambles
One Foot In
Jonathan Ehrenberg: Coordinates
The Word For World Is Forest
Rufus Tureen: Type
Eyeshadow

Moving Company and Friends: Deep Winter Healing&#38;nbsp;Not One Day
Rachel Domm: Inner Glow
Body-Split Trick
Sean McCarthy: Hiss My Way Down
Envelope at Drawer NYC
David Kennedy-Cutler: Keep Shop
Remote&#38;nbsp;Viewing
The Essex Flowers Window Box
Might Delete Later
Janine Polak: Squeeze
Three-Legged Race
Monica Palma: Elbow to Knee
Virginia Poundstone: Eye Strain
Alternate Realities
New York Flower Festival
Karen Azoulay: Semi-Precious
NADA House
Psychedelic Healing Center
Carnival Dreams
Rufus Tureen: Moderne Man
Linnea Vedder: Soft Skills&#38;nbsp;
Savannah Knoop :&#38;nbsp;SCREENS, a project about “community” 
Nicholas Hamilton : If you want to keep a secret...
Jonathan Hartshorn :&#38;nbsp;Suckers, copycats, lollipops...Meet the Parents


IN THE BACK SPACE

Juvana Soliven - of the soft parts
Linnea Vedder: The Doubly Balanced Sky: Explorations in Windows and Pairs
Camilla Padgitt-Coles: Disco Nap
Xinan Helen Ran et. al: Crumbs and Lather
Zach Steinman: Pleasures
Liliana Farber, Jacq Groves, Allison Reimus
Sara Murphy: Increased Refusal
Confetti falls from the ceiling
Kabuya Pamela Bowens-Saffo: Tracks &#38;amp; Bridges&#38;nbsp;
Dana Wood Zinsser: Guilt Quilt: Yucking My Yum

Katya Rozanova: Important Structures Upheld

Saira McLaren: Swish

Clay
Daniele Frazier: Climate Controlled
Squish
No Longer, Not Yet
Sally Paul: Slits and Slots
Inna Babaeva: Word of Mouth
Earth Body
Camilla Padgitt-Coles: The Tuning House
Calvin Burton: Drawings
Lydia McCarthy: Deep Cutz: Future Past Self
Robert Scott Whipkey: Criteopolis
Door #3
Katherine Aungier: Pip Squeak&#38;nbsp;
Elisa Soliven: Totems and Views
AXxoN N.&#38;nbsp;
Irini Miga :&#38;nbsp;Away is Another Way of Saying Here

Ryan Cullen : A New Kind of Togetherness&#38;nbsp;Rufus Tureen : Olde Man
Janine Polak : Inside Out

***
Aaron Krach, Julia Rooney, Emmy Thelander: Barely Fair, Chicago 2026

Patrick Carlin Mohundro: NADA New York 2024 

New York Flower Festival
Casting Inside
Cynthia Carlson : Over Time
Gangs of New York (Off-site at ADDS DONNA)
R Blair Sullivan : Meanders (a Fugue) Patrick Brennan : Drifter Home Edition&#38;nbsp;Rachel Domm : Premium, Original, &#38;amp; 100% Fat-Free	
Lydia McCarthy : Non-Game Ecstasy	
	Nickolaus Typaldos : War, Marriage, Money, Children
Justin Berry : the dust never settlesThe SandsNew York Flower Festival 2017Tarwuk : help me, help youINTOTO 4
Jesse Hamerman : A Chronological Sequence of Swell ArtifactsIn the Mailbox : Why the Long Face curated by Jon Lutz
Tatiana Kronberg : ExposureJeffrey Tranchell : LindaDust Stutter	NADA New York 2017 Paul DeMuro Lan Tuazon Book Release : Rob K-S Nosegays, Tussie-Mussies or Posies Æthelred Eldridge
Doreen Garner: Removing the Veil - Vanity as Material for Incision
New York Flower Festival 2016Tisch Abelow &#38;amp; Dakotah Savage: Perky BrachJustin Berry: PhotographsPerformance: All The Brown ButterfliesPatrick Brennan: Up Against NatureNVV: Book LaunchGlitch CultEva and Franco MattesLizzie Wright Panic Pants Anxiously Attached Phillip Birch and Auguste Rodin NADA New York 2015 Collagist/ish Christina Leung Melissa Brown Matt ConnollyMaria Acconci: Poetry ReadingAnne Eastman and Tatiana KronbergJoshua Smith2 Performances: Alina Tenser and Leah BeefermanShaun Krupa BHQFUJennifer SullivanPatrick BrennanYard ShowNortheast Corner at 2 Andy Meerow Kinesis PiecesPoetry and Book ReleaseNADA NYC Laura HuntEZ SpiritPersonal SpaceFrequencies Vol. 2Group Show </description>
		
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		<title>Dog Nights</title>
				
		<link>https://essexflowers.us/Dog-Nights</link>

		<pubDate>Tue, 10 Mar 2026 13:01:03 +0000</pubDate>

		<dc:creator>Essex Flowers</dc:creator>

		<guid isPermaLink="true">https://essexflowers.us/Dog-Nights</guid>

		<description>
Chen Peng + Fan WuDog NightsMarch 14 - April 12, 2026Reception: Saturday, March 14, 3-5pm
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Chen Peng, Antares, oil on canvas, 40 x 50 inch, 2026. 


&#38;nbsp;In Dog Nights, Chen Peng and Fan Wu present paintings and drawings from their respective practices, as well as two collaborative sculptures honoring Kara and Oke, the senior dogs that the artists adopted from Peng’s home country of Taiwan in 2022. The title of the exhibition is a nod to David Hockney’s 1995 exhibition Dog Days, in which the artist immortalized his two beloved dachshunds through dozens of drawings and paintings. Dog Nights, too, centers two dogs as its subjects, yet Peng and Wu’s images are unexpectedly intimate, a balance of clear-eyed observation and surreal fiction.
In Wu’s drawings, Kara and Oke appear sprawled amid dog beds, sheets, and scattered toys like celestial bodies, alternately pulling whatever artifacts-of-living that are nearest them into their unconscious orbits. What gravity does love hold, even in sleep? What power to bend and shape the fabric of space to draw others into proximity?

The drawings might appear sentimental, if they weren’t so frank. There’s an honesty and clarity to ink: An unforgiving medium, and mistakes and false-starts sit comfortably alongside more resolved passages. Each of these sketches, completed over a period of 60 days, appears labelled with its date, and while the subject matter remains relatively constrained, there is a sense that Wu’s routine – a conscious commitment to return and reengage with his sleeping dogs as subjects – reflects the cumulative nature of the love that grows through caregiving’s often mundane routines.

While Peng also centers Kara and Oke as subjects within her paintings, the images shed any hints of the man-made or the domestic. As Kara and Oke shift between states of sleep and wakefulness, they hover unanchored from their beds, resting both within and outside of surrounding landscapes. Luminous fields take the place of Wu’s interior spaces, yet an other-worldly light suggests that they do not belong to any physical realm. Instead, the landscapes carry the ethereal quality of spaces that Kara and Oke contain within themselves – outside of linear time, durational at the scale of seasons.

As Peng suggests, dogs live in our homes, yet maintain a greater purity and closeness to nature than we do. Here, time expands, or pauses – becomes a container. I’m reminded of the shortness of dogs’ lives, and how we occupy the whole of their lived experiences, while they live (unknowingly) within only fragments of ours. 

The difference between fiction and documentary is that fiction can be more real – a clarity of feeling and experience in its conscious refinement. Love, like fiction, compresses and expands time in its embodied narratives. In Dog Nights, Peng and Wu’s images of their dogs complement each other as narratives of love, an experience that is both immediate and atemporal.

- Jason Lipow

— ▼・ᴥ・▼ —

Chen Peng is a Taiwanese artist based in Hoboken, New Jersey. Her paintings explore the emotional and spatial worlds shared between humans, dogs, and objects. Peng received an MFA in Painting from Boston University (2022) and a BA in Philosophy from National Taiwan University. She is the recipient of grants from the National Culture and Arts Foundation (Taiwan) and the Studios at MASS MoCA. Her work has been exhibited nationally and internationally. She adopted her first dog, Sasa, in 2011 and has lived with dogs ever since. chenpengstudio.com

Fan Wu is a biostatistician, an amateur dog walker, a fake geek, a pretend artist, and a real enthusiast for little free libraries. Before 2011, he had never even petted a dog.
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&#60;img width="3400" height="2550" width_o="3400" height_o="2550" data-src="https://freight.cargo.site/t/original/i/279855fec27622c61a3845be83ac0df23c0f4fa9fa2a02bcafc73838aa76768a/Chen-Penguin-15-Mar-20-2026-72dpi-WebUse.jpg" data-mid="246424383" border="0"  src="https://freight.cargo.site/w/1000/i/279855fec27622c61a3845be83ac0df23c0f4fa9fa2a02bcafc73838aa76768a/Chen-Penguin-15-Mar-20-2026-72dpi-WebUse.jpg" /&#62;&#60;img width="3400" height="4533" width_o="3400" height_o="4533" data-src="https://freight.cargo.site/t/original/i/ada006227c10454a0f54d31d1583e73f371e721360be1614e678108db7c66c6b/Chen-Penguin-16-Mar-20-2026-72dpi-WebUse.jpg" data-mid="246424384" border="0"  src="https://freight.cargo.site/w/1000/i/ada006227c10454a0f54d31d1583e73f371e721360be1614e678108db7c66c6b/Chen-Penguin-16-Mar-20-2026-72dpi-WebUse.jpg" /&#62;&#60;img width="3400" height="4533" width_o="3400" height_o="4533" data-src="https://freight.cargo.site/t/original/i/f313318d88bcd4136e58127868b87341f72e10487304cdca548434acd90f17cb/Chen-Penguin-17-Mar-20-2026-72dpi-WebUse.jpg" data-mid="246424385" border="0"  src="https://freight.cargo.site/w/1000/i/f313318d88bcd4136e58127868b87341f72e10487304cdca548434acd90f17cb/Chen-Penguin-17-Mar-20-2026-72dpi-WebUse.jpg" /&#62;&#60;img width="3400" height="2550" width_o="3400" height_o="2550" data-src="https://freight.cargo.site/t/original/i/8a16e5fdde1223e8b987e20ee6d8722751ee9b2bb286953dbd2872040e22b39a/Chen-Penguin-18-Mar-20-2026-72dpi-WebUse.jpg" data-mid="246424386" border="0"  src="https://freight.cargo.site/w/1000/i/8a16e5fdde1223e8b987e20ee6d8722751ee9b2bb286953dbd2872040e22b39a/Chen-Penguin-18-Mar-20-2026-72dpi-WebUse.jpg" /&#62;&#60;img width="3400" height="2550" width_o="3400" height_o="2550" data-src="https://freight.cargo.site/t/original/i/31688b0adcd6f56a2dce0830be55c831b3da15a27e08d2e369ea482874a6f63c/Chen-Penguin-19-Mar-20-2026-72dpi-WebUse.jpg" data-mid="246424387" border="0"  src="https://freight.cargo.site/w/1000/i/31688b0adcd6f56a2dce0830be55c831b3da15a27e08d2e369ea482874a6f63c/Chen-Penguin-19-Mar-20-2026-72dpi-WebUse.jpg" /&#62;
View individual drawings here

Photos by Garrett Carroll</description>
		
	</item>
		
		
	<item>
		<title>AARON KRACH</title>
				
		<link>https://essexflowers.us/AARON-KRACH</link>

		<pubDate>Fri, 26 Dec 2025 18:30:01 +0000</pubDate>

		<dc:creator>Essex Flowers</dc:creator>

		<guid isPermaLink="true">https://essexflowers.us/AARON-KRACH</guid>

		<description>
AARON KRACHEverything Is Different NowJanuary 3 - February 1, 2026Reception: Saturday, January 10, 3-6pm
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/b3e0421817211c12b6f70caf8584e729660fa15d5942a0a138fb083962a7496a/Krach_Beginning.JPG" data-mid="242190106" border="0"  src="https://freight.cargo.site/w/1000/i/b3e0421817211c12b6f70caf8584e729660fa15d5942a0a138fb083962a7496a/Krach_Beginning.JPG" /&#62;“From Beginning To End,” 2021-2025, by Aaron Krach

Installation view, Mountainhome, PA


&#38;nbsp;Essex Flowers presents Everything Is Different Now, an installation by Aaron Krach featuring&#38;nbsp; objects with text, and new collages. The work ranges in size from domestic to industrial but all contain the artist’s signature ambiguous-but-sincere words and phrases. 

“I want text that can be read in different ways,” says the artist. “‘Everything is different now’ can be a good thing. Finally, let's celebrate! Or it could be a warning. Things are different in a bad way. Let’s get back to work!” 

Krach extends his promiscuous use of materials introducing wood and ceramics. The hand-painted sign is by Fred Wunder, a Pennsylvania sign painter. The large vinyl is original and a found object. The piece was first installed as a billboard along a highway in 2021. Now inside, it becomes more image than text, and the letters feel architectural. 

In addition, the artist is showing the new collages, part of his “Sculpture of the 20th Century” series, named after a catalog published by The Museum of Modern Art in 1952.
 

Aaron Krach is a Brooklyn-based artist working with objects, text, and images to ask questions such as: Who are we? What is freedom? And where are we going? He started&#38;nbsp; @ND Aaron Krach in 2023 to foster experimental collaborative publications.

&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/bf2597d2020efc9fd4c8c0f209dd3a52e8169fc56436bf72f60ff1169b74f3f9/TwoMiddle.jpg" data-mid="243107733" border="0"  src="https://freight.cargo.site/w/1000/i/bf2597d2020efc9fd4c8c0f209dd3a52e8169fc56436bf72f60ff1169b74f3f9/TwoMiddle.jpg" /&#62;&#60;img width="4032" height="2682" width_o="4032" height_o="2682" data-src="https://freight.cargo.site/t/original/i/1feb6b66daf30c3f9e909dc8c310e99de3ff80b0c4ec55c02641aa4f91eca81c/InstallationView.jpg" data-mid="243107734" border="0"  src="https://freight.cargo.site/w/1000/i/1feb6b66daf30c3f9e909dc8c310e99de3ff80b0c4ec55c02641aa4f91eca81c/InstallationView.jpg" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/a77637ed0e2687d6c706aa4249d18b871d30ef3a947bb9929464b4b7e44076a7/CountingDaysWaysVases.jpg" data-mid="243107735" border="0"  src="https://freight.cargo.site/w/1000/i/a77637ed0e2687d6c706aa4249d18b871d30ef3a947bb9929464b4b7e44076a7/CountingDaysWaysVases.jpg" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/5b4634d3efbc817701b7487761474119c3f8c322c9260da69b16bdf70c1f7cfb/InstallationViewFront.jpg" data-mid="243107736" border="0"  src="https://freight.cargo.site/w/1000/i/5b4634d3efbc817701b7487761474119c3f8c322c9260da69b16bdf70c1f7cfb/InstallationViewFront.jpg" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/2b81b62b6d78a17227bf1ca9432ed2dcbae6f23eadce7e7288a5c6169bf236d3/StillHereNow.jpg" data-mid="243107737" border="0"  src="https://freight.cargo.site/w/1000/i/2b81b62b6d78a17227bf1ca9432ed2dcbae6f23eadce7e7288a5c6169bf236d3/StillHereNow.jpg" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/2e40fe638dd591eb5b77d0275b6fafb8691dbac4a4052ec75caa3dcb4b9eda60/InstallationViewFront2.jpg" data-mid="243107738" border="0"  src="https://freight.cargo.site/w/1000/i/2e40fe638dd591eb5b77d0275b6fafb8691dbac4a4052ec75caa3dcb4b9eda60/InstallationViewFront2.jpg" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/2d1d456fb1a1e4c3bbb2ac12f15674f20518c4992f85fbb94abf27ae70e9c09f/TwoBack.jpg" data-mid="243107739" border="0"  src="https://freight.cargo.site/w/1000/i/2d1d456fb1a1e4c3bbb2ac12f15674f20518c4992f85fbb94abf27ae70e9c09f/TwoBack.jpg" /&#62;&#60;img width="3937" height="2794" width_o="3937" height_o="2794" data-src="https://freight.cargo.site/t/original/i/3dd313df42f5cc1ea0560ab0579f1d52f423a30b2f543287e18d1e9e352b3b7d/threeinback.jpg" data-mid="243107740" border="0"  src="https://freight.cargo.site/w/1000/i/3dd313df42f5cc1ea0560ab0579f1d52f423a30b2f543287e18d1e9e352b3b7d/threeinback.jpg" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/0e9345904ec92f84e82b4330dc4edaa729e997daa500399eece748c80e100099/TwoFront.jpg" data-mid="243107741" border="0"  src="https://freight.cargo.site/w/1000/i/0e9345904ec92f84e82b4330dc4edaa729e997daa500399eece748c80e100099/TwoFront.jpg" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/e2d5d9a0a1e53018ba41769b269c12f629ddc75512f8228f0c4e931b05a3f750/InstallationViewBack.jpg" data-mid="243107742" border="0"  src="https://freight.cargo.site/w/1000/i/e2d5d9a0a1e53018ba41769b269c12f629ddc75512f8228f0c4e931b05a3f750/InstallationViewBack.jpg" /&#62;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fcf7dfb1b778da84fc95c223f41c3020a2d3602a0c3a1da923c35228d36ca99b/Calendar.jpg" data-mid="243107743" border="0"  src="https://freight.cargo.site/w/1000/i/fcf7dfb1b778da84fc95c223f41c3020a2d3602a0c3a1da923c35228d36ca99b/Calendar.jpg" /&#62;
&#60;img width="4032" height="2830" width_o="4032" height_o="2830" data-src="https://freight.cargo.site/t/original/i/0a2e1fb99f16b2686363e9a08a4b82209511896d041ab55cd98e2159b009b669/IMG_5140.jpg" data-mid="243107744" border="0"  src="https://freight.cargo.site/w/1000/i/0a2e1fb99f16b2686363e9a08a4b82209511896d041ab55cd98e2159b009b669/IMG_5140.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>IVY MEADOWS SOUND &#38; LIGHT HEALING</title>
				
		<link>https://essexflowers.us/IVY-MEADOWS-SOUND-LIGHT-HEALING</link>

		<pubDate>Thu, 13 Nov 2025 00:05:29 +0000</pubDate>

		<dc:creator>Essex Flowers</dc:creator>

		<guid isPermaLink="true">https://essexflowers.us/IVY-MEADOWS-SOUND-LIGHT-HEALING</guid>

		<description>
CAMILLA PADGITT-COLESIvy Meadows Sound &#38;amp; Light HealingNovember 22 - December 21, 2025
&#60;img width="2150" height="2150" width_o="2150" height_o="2150" data-src="https://freight.cargo.site/t/original/i/732652c58be29770c9aca471d069a5d20b2ee9eac66d8df55e14fd60a06deca0/IvyMeadowsSoundHealing_logo-Web.png" data-mid="240669200" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/732652c58be29770c9aca471d069a5d20b2ee9eac66d8df55e14fd60a06deca0/IvyMeadowsSoundHealing_logo-Web.png" /&#62;Ivy Meadows Sound Healing logo by Emily Linklater, ink on paper, 2025&#38;nbsp;

Essex Flowers is pleased to present Ivy Meadows Sound &#38;amp; Light Healing by Camilla Padgitt-Coles. 
This project is part practitioner room, part art installation, all experiment. The front room features natural and colored lighting, a therapy table, and sound healing instruments including crystal singing bowls, Himalayan singing bowls, crystal harp, gong, chimes, and tuning forks. The back room offers a minimal video installation designed to relax and suspend time. Individual one-hour sound healing sessions are available by appointment on a sliding scale: $75, $100, or $130. Tea is offered afterward. The space also hosts dedicated pay-what-you-wish days and free viewing hours to see the setup and video installation in its silent state. The run will culminate with a winter solstice celebration including a free community sound bath by Camilla Padgitt-Coles and evening performance by Camilla Padgitt-Coles and collaborator Bryce Hackford.

Bio:
Camilla Padgitt-Coles has been facilitating sound experiences since 2011 in both individual and group settings. Trained through Sound Medicine Academy with Guy Yair Beider, they operate as Ivy Meadows Sound Healing and also create audio-visual art and work with light and music. Website:&#38;nbsp;ivymeadows.net

SCHEDULE&#38;nbsp;Note: All session bookings are now closed. Join us for the free closing event on December 21!

Sessions:&#38;nbsp;Individual sessions: $75–130 (sliding scale)Viewing hours: 12–2 pm, Sound session: 4–5:30 pm. Sound bath is from 4–5 pm. Tea is offered afterward with time to view the video installation in the back room.&#38;nbsp;
Saturday, November 22 (OPENING DAY)


Saturday, November 29


Sunday, November 30


Saturday, December 6


Sunday, December 7


Saturday, December 13


Sunday, December 14Saturday, December 20Book here

Sunday, December 21 (CLOSING DAY):&#38;nbsp; Winter Solstice Sonic Activation by Camilla Padgitt-Coles and Bryce Hackford - 6:30 pm doors - 7–8 pm music - Free (*No entries after 7 to keep the space warm)Pay-What-You-Wish Days:&#38;nbsp;These sessions are the same individual sound healing experience, available at whatever price works for you (free is okay). Choose 15, 30, or 45-minute sessions. Tea is offered afterward with time to view the video installation in the back room. &#38;nbsp; Sunday, November 23 Friday, December 5

Book here
&#38;nbsp;FAQs


What is sound healing?&#38;nbsp;Sound healing uses vibrations and frequencies to support relaxation and meditation. It is typically practiced with instruments such as singing bowls, gongs, and tuning forks. The therapeutic sounds help signal the nervous system to shift into a 'rest and digest' state, which can reduce stress, ease tension, and create a sense of calm and balance.


What happens during a session?&#38;nbsp;You'll lie comfortably on a heated therapy table while experiencing sounds from various instruments. Sessions last 45 minutes and include time for tea and to settle afterward. The experience is deeply relaxing - some people meditate, others fall asleep, and some simply rest.&#38;nbsp;Feel free to explore the space, including the video installation in the back room, before you leave.


Will sounds be played directly on my body?&#38;nbsp;No, but I may play some instruments a few feet over your body if the session calls for it. If you would prefer I not do that, just let me know.


What should I wear or bring?&#38;nbsp;Wear comfortable clothing. Everything you need is provided, including neck rest/pillow, blankets and bolsters, and an optional eye mask.


Do I need experience with meditation or sound baths?&#38;nbsp;No experience necessary! Sessions are welcoming to complete beginners and experienced practitioners alike.


Are there any contraindications?&#38;nbsp;Sound healing is generally very safe. If you have a pacemaker, metal implants, or are in your first trimester of pregnancy, please mention this when booking so accommodations can be made.


Can I visit the video installation without booking a session?&#38;nbsp;Yes! During viewing hours (12-2 pm on scheduled days), the gallery is open to see the setup in its silent state and experience the video installation in the back room. On the winter solstice (December 21st), the space will be open 2–5 pm for a free community sound bath - visitors are welcome to come and go as they please.
How much do sessions cost? Individual 45-minute sessions are available at $75, $100 or $130 sliding scale. Booking for sessions is available here.What if cost is a barrier? There are two dedicated pay-what-you-wish days: November 23 &#38;amp; December 5. Sessions on these days are offered in 15, 30, or 45-minute formats. There are also limited pay-what-you-wish spots available on regular session days. Book for pay-what-you-wish days here or email ivymeadows.soundhealing@gmail.com to discuss options on other days.


Do you have a cancellation policy?
Yes. Please allow at least 24 hours' notice for rescheduling or cancellations for a full refund.


How are proceeds used?
10% of all proceeds support the volunteer-run Chinatown Community Fridge &#38;amp; Pantry. The remainder supports the artist and covers operational costs.
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Photos: Anthea Behm</description>
		
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