This expansive exhibition continues Hitchings’ exploration of the intangible relationships humans have between one another, as well as society’s relationship to the earth and the cosmos.

The title of the exhibition riffs on Margot and Rudolf Wittkower’s “Born under Saturn: The Character and Conduct of Artists” (1963) a well-known dissertation on the embrace of eccentricity that came to distinguish the skilled artisan, who worked under the sign of light-fingered Mercury, from the artists identified with the mysterious and brooding Saturn. Papademetropoulos plays with this distinction to create traditional paintings in the manner of Old Masters that explore the otherworldliness that marks outer edges of our contemporary society’s fascination with the metaphysics and astrology.

Though Lincoln utilizes familiar subject matter, the paintings in this series are less likely to evoke recognizable landscapes than to transport the viewer into another realm.

Sabrina Piersol’s artistic vision explores the raison d’être of the contemporary landscape, occupying a hybrid space through a pictorial interpretation that includes both the contingent (the real world) and the transcendent (the metaphysical). Her compositions and her architecture of symbolic elements contain aspects of nature, such as mountains, meadows, and rivers, as well as a meticulously curated palette of colours and shapes, all of which coexist in a delicate balance of tensions.

Through saturated sculptures and energy-infused paintings, Carmona and Fidler invite viewers into a dialogue that merges Puerto Rican heritage with spiritual ascension, creating a tapestry of cultural exploration and artistic innovation.

In this new series, Lutz philosophically probes the creation of the universe, chaos theory and the history of alchemy, using a sophisticated vocabulary of material symbolism. Bleach-dyed denim, a nod both to her goth/punk roots and alchemical transformation, is stretched over round and square frames and embellished with gouache, embroidery, and glass beads.

Based in geometry, like the structure of life itself, Glasson’s work is a nod to this visible and invisible structure that is the foundation of our world. This dual realm of our own relative in-between.

Healing Machine unites fourteen self-taught artists whose primary intentions for creating their works superseded any desire to make “art.” Their unbridled and passionate pursuits varied, but they all shared a fervent dedication to realizing their goals. For some, this was communion with Nature, extraterrestrials or spiritual realms; and for others it was attempting to heal themselves and the world through their inventions.

A Particular Kind of Heaven presents a wide array of empyrean imagery by a multigenerational group of artists. Sited in a deconsecrated Catholic church, the exhibition probes connections between the spiritual and the natural, the everyday and the sublime.

The past shapes how the present is seen. The trees depicted take on anthropomorphic qualities and build a narrative around familial relationships with titles like ‘Backbone,’ depicting a small tree growing tall and proud with a succession of older trees in infinite progression behind, and ‘Cradle,’ where tree branches hold the sun on a cold spring afternoon. Notions of life and death abound, as in ‘The Other Side,’ a scene of dead tamarack rot-resistant trunks looming out of the Straight River, the skeletons are still physical, lively and full of character. In these works Madeleine seeks to find new life in a place once thought lost, and aims to express that family ties, if strong enough, can live beyond time.

When experienced together, Kristin Cronic's and Alyssa Fanning's paintings conjure a vibrant, eclectic universe. This exhibition offers a compelling view of our relationship with land, sky, and trees.

Nature's Canopy takes a hypnotically radiating journey through sunlit valleys, hills, cascading waterfalls, and into the night sky.

Greene’s practice considers the oversimplification of binaries, operating at the porous border between two seemingly distinct notions. The exhibition’s title, Pseudopodia, refers to the temporary projections manifested by amoebic cells in order to move, which are then reabsorbed into the cell in a continual process of animacy.

Shown together for the first time, the three artists share a keen attentiveness to the natural world, a deep interest in color’s emotive power, and a continual exploration of the relationship between place, memory, and the poetic ambiguity of visual expression.

SPECTRAL VISIONS is a solo presentation by Hilma’s Ghost (Sharmistha Ray and Dannielle Tegeder) in three parts featuring selections of artworks made by the collective since their formation in 2020 as well as a new series of artworks.

A beacon of the season of emergence, the iris works through the compacted depths of winter’s soil and turns its luminous face toward the rising sun.

Exploring the Depths of Abstractionism considers abstract art as a catalyst for self-reflection, a conduit through which ideas, emotional states, and embodied experiences can be communicated beyond the confines of traditional representation.

These paintings induce a calm insightfulness, they remind of meditation, of closing one’s own eyes and trying to escape thinking, to be focused and present, yet avoiding any thoughts. Featherlight might then be no longer only an adjective describing these artworks, but the feeling one would feel by giving time o them. It would be describing the colour shapes one might visualise trying to empty their minds, subduing their emotions and allowing these ecstatic melodies, these calm sound-haikus Vinna Begin methodically paints on canvas to take space and time, in their lento, ad libitum.

Kiacz’s work is informed by the natural world. The artist is particularly drawn to fleeting, atmospheric light phenomena such as sunsets and rainbows, which she actively documents for reference on her phone when such encounters happen. In fact, Kiacz’s interest in working on shaped supports arose from an earlier landscape painting practice; many of her panel forms refer directly to the shapes of clovers and flowers.

Theatre of Experience, a display of nine framed works at House of Seiko, focuses on Madam X's mandala drawings developed over the last fifteen years. Many of these paintings and drawings posit themselves as evolving works. They are records of the experience of her spiritual insights and were created solely for her pursuit of spiritual understanding. They contain intricately layered yet familiar images of humans, creatures, and other living things weaving through the sphere of time, attempting to return to the center of the world in which they have been born.

Torn by hand, dyed in vats, pressed with ink or found objects, Humphreys performs a number of processes on paper. She activates its permeable surface, testing the paper’s resilience with line, color and pressure– motivated by the transformative possibilities of printmaking more so than by its staid tradition of serial image making.

Metallurgy, the study of the properties of metal and its mixtures, began as part of the ancient practice of alchemy.  Alchemists would subject metals to high heat in order to shape and reformulate new metallic forms, with records kept so that future alchemists could interpret their implications.  

On the one hand, the images have an obvious cosmic, visionary, and even psychedelic potency. They seem almost like illustrations of visionary archetypes, as the faithful transcription of cosmic or ritual truths. But at the same time, they are very deliberately reflexive and phenomenologically adaptive paintings. Smith constructs them to cunningly include the viewer and the viewer’s process of perception. The paintings attempt to make the process of becoming concrete. In this way they are as much like Cézanne, Agnes Martin or Bridget Riley as they are like surrealist or symbolist art. The viewer’s flowing process of perception interacts with the images to create what Smith calls a “third space.”

This exhibition tracks the development of Hollowell’s visual language over ten years; a vocabulary that bridges abstraction with figuration, autobiography with art history, and biology with emotion. Orbiting two centuries of pioneering women artists that span generations and movements from Abstraction to Surrealism to 1960s Light and Space art, including Hilma af Klint, Agnes Pelton, Georgia O’Keeffe, and Judy Chicago, Hollowell also cites Neo-Tantric painting as an important influence. Hollowell’s approach always begins with her own body as a guide to appraise seismic issues from sexual freedom to feminism, and reproductive rights and motherhood.

Over the course of nearly four decades and across three continents, Abidjan-born, New York–based artist Ouattara Watts has developed a painting practice that places cosmograms, numerals, cloth, and other symbols and relics from around the world into relation with each other, leveling hierarchies and creating new relations in the process.

Rituals features a series of paintings that explore the sublime beauty of mountainscapes and the color spectrum. These carefully crafted compositions are not mere representations; they imagine elevated terrains inspired by the artist’s deep connection to nature and her personal and artistic rituals. Developed through repetitive actions and processes, each painting emerges as if from a meditative journey, manifested through Guidi’s investigations of color, form, texture, and material.

The Philosophical Research Society proudly presents "The Museum of Multidimensional Mutant Maps," a solo exhibition featuring bold new works by interdisciplinary artist Edgar Fabián Frías. On view January 13 through February 24, 2024, this exhibition transforms the gallery into an immersive museum experience reexamining maps through the lens of imagination, reflection, and reinvention.

Inspired by the Nierika, a Wixárika technology, Frías has created interactive installations, paintings, sculptures, prints, and videos to help guide, confuse, and connect with visitors to this museum. These new artworks are arranged throughout thematic wings of the museum, each exploring different facets of maps. 

By interweaving indigenous, psychedelic, punk, and futurist influences, Frías has constructed a museum at once critical, visionary and whimsical. Their mutant maps capture traces of haunted pasts, possible presents and emergent futures - if we dare to reorient our perspectives. Ultimately, this exhibition serves as a testament to the transformative power of indigenous technologies and art practices to prompt reflection, spark imagination and manifest reinvention.