An installation image of art in a gallery with white walls and shiny concrete floor. In the center of the room there is a mound of earth covered in patchy mosses, with two small, embracing brass figure on the top. On the walls hang three large paintings of landscapes with creatures and figures in them, all rendered with a playful and surreal style.

Kate Klingbeil: Grown Woman

Klingbeil’s paintings depict fantastical underground landscapes and complex ecosystems that draw upon her upbringing in the rural Midwest and which represent the dark side of her mind.

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.

A still image of a four-channel video. Each frame shows a block of salt in the shape of a human foot, with the sole of the foot facing the camera and a pedeastle of salt below it, placed on a tree stump in a forest. In three of the four frames, cinnamon colored deer licking the salt foot are caught on a motion-activated camera.

Malia Jensen: Eremocene

Malia Jensen’s multimedia art practice focuses on natural cycles, the human form and connections with nature. Her works are often visual metaphors that encourage multiple readings from the viewer. The title Eremocene references philosopher and biologist E.O. Wilson’s theory about humankind’s impending “Age of Loneliness” after the rapid decline of the planet’s biodiversity, and Jensen’s related themes of erasure and transformation in this body of work.