A black object hanging against a white wall resembles undulating mountains, or waves in the ocean, with sharp peaks and smoothed valleys.

Stefanie Victor

Small in scale, the works relate to the body and it’s trace movements, as well as domestic infrastructure and hardware, and are made from a range of materials including metal, glass, ceramic and concrete.

Bulbous, bloated, tentacle-like arms coil at the bottom of the frame, above and out of which woven ropes tangle and coil upward, toward a surface.

Kinke Kooi: The Grotesk of Raising

The show brings together a selection of recent works that explore crucial ideas that the artist has long explored: gender, equality, and notions of the “other.” In her intricate, inventive paintings and drawings–which can take up to a year to complete–multi-faceted feminism is woven together with a seductive, sinewy line that blurs and merges inside to outside, convex to concave, surface to depth, ornament to function, emotional to verbal, high to low, flora to fauna.

A square, black and white photograph of a boy's face with another square of red centered over it, all atop an aluminum screen painted red, against a red background.

Paul Lee: Tambourine Heart

Characterized by a palpable presence of the hand, the artist’s ongoing formal experimentation and investigation of materiality returns to the same functional objects rendered into reliquary.

crude sketch of a rural scene made combining soot and saliva on found paper—features the facade of a farmhouse, a shed, a white barn, a windmill, a fence. The ground is a light shade of grey; the sky, the naked, off-white of the paper.

Dear John

Creating sophisticated drawings, books, and sculptures from humble materials such as discarded envelopes, matchboxes, twine, and soot, Castle produced a complex body of work

Numerous carved wooden sculptures displayed in a room with wooden floors and white walls, some seeming to be functional (e.g. a chair, a bench) and others seeming to take on abstract forms, including one vertical, rectangular piece displayed on a stand with jagged, irregularly spaced edges cut into it. Most of the pieces have flat faces and 90 degree edges and seem to be cut from similar wood.

Vince Skelly: New Works

Following grain, patterns, knots, and other irregularities inherent to the material, Skelly highlights simple and essential abstract shapes informed by intrinsic characteristics of the material.

Two paintings hanging on a white wall. The painting on the left is square and features a side profile portrait of a man with brown skin a, black hair, and a black mustache, looking to the right on a blue background. The words "Will E Mays" hover the man's large nose. The paining on the right is rectangular, and features a man in profile, facing left, with darker brown skin, black hair, and a black mustache on a deep blue background, wearing a lime green shirt.

Billy White

With graphic marks and emphatic colors, White conjures portraits that are celebratory and personal. Muscular and energetic brushstrokes coalesce to form complex images that are more emotional than representational.

A glorious, contrasty landscape painting with red stars falling to the earth near a large lake surrounded by dark green hills. Dark clouds loom overhead, and a rainbow juts diagonally across the square frame.

New Works: Joan Nelson

The new works—painted in reverse on plexiglass—feature mountain ranges, waterfalls, rainbows, expansive skies, and epic vistas, building on Nelson’s interests in the experience and depiction of the landscape, as well as in the materiality of paint and the history of painting.

Installation image of Earth at Adams and Ollman gallery. The photograph shows a corner of the gallery with five paintings hung on white walls. On the left is a large canvas with abstract, psychedelic botanical imagery next to a much smaller canvas with imperceptible content from the image's distance. On the right wall are three square paintings of the same size, each depicting flowers. One uses deep blue hues, one pinks and dark greens, and one pinks and reds.


Using painting as a common language, the artists included in Eartha examine the concept of the natural world and their relationship to it. Together, the works offer a different way of being in the world, one that is personal, interconnected, and spiritual, while raising questions of representation, politics, gender and pleasure.