Endless, 2023
Max Rohr
Colombo’s gallery
In this monthly roundup, we spotlight five stellar exhibitions at small and rising galleries.
Timewaveultra
“HEAVY DEEDS FROM THE BOOK OF SKULLS”
Tracey Morgan Gallery, Asheville, North Carolina
Through June 27
Foxy Woxi, 2025
TIMEWAVEULTRA (Cole Caswell and Bryan Graf)
Tracey Morgan Gallery
Pure Sound Welcome Home, 2025
TIMEWAVEULTRA (Cole Caswell and Bryan Graf)
Tracey Morgan Gallery
In their latest show, Timewaveultra, the artist duo Bryan Graf and Cole Caswell, presents new, unique photography-based work rooted in the American landscape. Graf and Caswell work together in a collaborative, intuitive process, each making interventions into the other’s photographs through layering, improvising, and collaging. Many of the works in the exhibition are multimedia, incorporating aspects of assemblage, sculpture, text, books, posters, and other objects. The imagery, however, remains rooted in forest life, in scenes like Foxy Woxi (2025), a semi-psychedelic photograph of a fox, or Pure Sound Welcome Home (2025), a photograph of towering evergreen trees above a glittering lake, overlaid with prismatic light.
“It’s all about the rhythm, the waves, amplifying other dimensions,” said the artists in a statement, describing the multimedia works as “a run-on sentence that just flows right.”
Atelier Cléophée
“Revealing Light: Pastel Works by Atelier Cléophée”
Galerie Villa Gabrielle, Paris
Through June 30
Filigrane XII, 2026
Atelier Cléophée
Galerie Villa Gabrielle
Filigrane X, 2026
Atelier Cléophée
Galerie Villa Gabrielle
Paris-based artist Atelier Cléophée dedicates her practice to one medium: pastel. Cléophée works specifically in soft pastels—dry, pure pigments with a powdery finish. Her new exhibition, “Revealing Light,” brings together dozens of drawings made over the past three years, ranging in scale from handheld to window-sized.
A student of art history, Cléophée takes inspiration from centuries of decorative arts, from stained glass and mosaics to wallpaper and textile designs, as well as her extensive travels, which have taken her from the Villa Medici in Rome to the Metropolitan Museum of Art in New York. Her drawings are characterized by accumulations of repeating marks, which, though abstract, tap into elemental aspects of nature. In the drawing Filigrane X (all works 2026), for instance, long rippling lines of blue and green pastel bring to mind the rippling tides of the ocean seen from above, or, in Filigrane XII, the shadow patterns cast on dunes. This series takes inspiration from the art of filigree, a delicate, ornamental metalwork that dates back millennia and is used to make jewelry and stained glass windows.
D. Jack Solomon
“ALL IN GOOD TIME”
Kathryn Markel Fine Arts, New York
Through June 27
JAYWALKING, 2018
Jack Solomon
Kathryn Markel Fine Arts
REDUX #22, 2024
Jack Solomon
Kathryn Markel Fine Arts
American artist D. Jack Solomon’s paintings are an unlikely but delightful synthesis of whimsy and geometry. In “All in Good Time,” the 92-year-old artist presents energetic paintings that nod to the formalist concerns of the Bauhaus and Kandinsky, playfully juxtaposed with Pop and even comic book motifs. Certain formal strategies unite these compositions, including repeating circular forms, Constructivist-inspired intersecting planes, and bold colors.
The artist, who lives in Hudson, New York, has experimented with contrasting these varied formal languages since the mid-1990s (in the 1960s and ’70s, his works were tightly focused on Minimalist color grids). He likens his compositions to a kind of collage.
“A resulting composite is either a mash-up of cultural symbols or may suggest a stream of consciousness narrative,” said the artist in a statement for the show. “Lately, more geometric or color-based spaces have come to predominate.”
Lucas Marcos Barquilla
“Rack’t carcasses make ill anatomies”
Brispa Gallery, Madrid
Through June 20
Tab. XIII, Myographia Nova, John Browne 1648, 2025
Lucas Marcos Barquilla
Brispa Gallery
Spanish artist Lucas Marcos Barquilla dives deep into the world of historical anatomical imagery in his new Madrid exhibition, debuting ceramic reliefs inspired by the scientific illustrations from the 15th- to 17th-centuries. The exhibition’s title, “Rack’t carcasses make ill anatomies,” references a gruesome line from John Donne’s 17th-century poem “Love’s Exchange” and hints at the corporeal imagery explored in the show.
Barquilla’s high-fired ceramics are flat, with images glazed on their surfaces, and presented here in wooden frames, sometimes in diptych or triptych formats. Classical-looking figures appear with their bodies splayed open: active participants who pull back their flesh. In Tab. XIII, Myographia Nova, John Browne1648 (2025), a figure pulls up the skin on their back daintily as though taking off a shirt. Many of the ceramics have carved out openings, empty spaces where the interior anatomies should be.
The works are at once humorous and unsettling. In this way, Barquilla upsets the original intention of the illustrations he draws from. While anatomical illustrations were used to study, classify, and control biological life, the artist turns this study into something more human and uninhibited.
Max Rohr
“Somewhere/Sometime”
Colombo’s Gallery, Milan
Through July 17
Bring me back home, 2025
Max Rohr
Colombo’s gallery
After stepping away from the art world for a few years, Italian artist Max Rohr makes his return to exhibiting with “Somewhere/Sometime.” The show brings together nearly two dozen works on canvas as well as watercolors on paper made over the past few years. These recent works are paired with a selection of paintings from earlier in Rohr’s career, some of which are being exhibited for the first time.
Born in Bolzano, Italy, Rohr studied at the Academy of Fine Arts in Vienna and emerged as a painter in the late 1980s. He is known for his dreamlike figurative paintings that probe metaphysical questions. The exhibition title “Somewhere/Sometime” hints at these uncanny themes of deconstruction and memory. In these paintings, limbs multiply, floating freely from bodies, which themselves merge with architectural forms. In Bring me back home (2025), a colossal head of a man flies through a forest, carried by a disembodied pair of hands, towards a shadowy figure on the left-hand side of the canvas, perhaps to be reunited. At the bottom of the painting, painted as though on a small shelf, a set of hands and three pairs of feet appear, compounding the oddness of the scene. Rohr’s influences are varied, but the cool and muted palette that unifies his work draws from Nordic film and literature. In addition to his career as a painter, Rohr is also an established designer of knitwear for men.
from Artsy News https://ift.tt/gbVFA7T
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