Just behind an infinitely diverse grid of color, a topography materializes, organize textures othered by a digital haze.

WHERE WE ARE

The jumping-off place are artworks referring to lexicons or cartography, which become metaphors for finding our place in the universe.

Three eyes—one red, one green, and one blue—float on stems like flowers, each of them expressing different things: fear, disinterest, perhaps curiosity.

Alan Rath

In formally elegant yet winsome sculptures — almost every component of which he designed, machined, and programed himself — Alan Rath explored the relationship between technology and the human body and behavior.

Crowded painting of butterflies, side by side, overlapping, still. One feels as if they are standing in a bug museum, standing very near a wall of fossilized butterflies.

Isabella Kirkland: THE SMALL MATTER

Isabella Kirkland directs her technical proficiency and rarefied access to biological specimen collections and scientific experts towards illuminating the ecological instability inherent in the Anthropocene.

A horizontal rectangular grid with variously colored cells. The top six rows are a dark rainbow. The next eight rows are a spectrum of dark and light rainbow colors, and the bottom nine rows are pastel, slightly grey rainbow colors. Two black lines meander across the grid. One, thin, black, and more jagged looks like a cartographic feature. The other is thicker, black, with more obtuse angles and two circles at either end.

Lordy Rodriguez: Polar Democracy

Twenty-four years ago, Lordy Rodriguez started using a visual lexicon of map-based forms as metaphors for defining an individual’s position within a culture or society. For his sixth solo exhibition at Hosfelt Gallery, Rodriguez utilizes this ever-developing, cartography-inspired vocabulary to ruminate on issues about the immutable appeal of democracy and its very precarious existence.

An intricate, colorful oil painting with a background that gives the impression of looking at a reflection in water. In the foreground, a three-dimensional grid overlays the blurry background.

Driss Ouadahi: Revisited Spaces

Influenced by his lived experience as an émigré, Driss Ouadahi has developed a unique visual vocabulary – a synthesis of structural design and modernist grid painting – which he uses to explore the social, political and psychological aspects of boundaries and the possibility of transcending them.