Sophie

“La nube está en todas partes.”☁️ Moments from last Saturday's Frank Contemporaries with Adrian Sosa. Adrian revealed the material and conceptual layers of his work, explaining that in Tucumán, clouds are not always found in the sky; instead, we can create them. He discussed how flour, as well as the remnants of labor that linger even after the work is done, along with sugar mills— which influence seasons, schedules, economies, and bodies— shaped the concept behind "𝘏𝘢𝘣𝘪𝘵𝘢𝘳 𝘜𝘯𝘢 𝘕𝘶𝘣𝘦." Thank you to everyone who came out last Saturday to engage in dialogue and activate our space. ♥️ This is the final week to visit 𝘏𝘢𝘣𝘪𝘵𝘢𝘳 𝘜𝘯𝘢 𝘕𝘶𝘣𝘦 by Adrian Sosa (@a.dria.a.n ), on view at The Frank through April 11th. Come and see it! 📍 601 City Center Way, Pembroke Pines, FL 33025.

Adrián Sosa & Claudio Marcotulli: Practices in Dialogue An evening of screenings and conversation at @laundromatartspace bringing two distinct practices into relation—across territory, medium, and approach. Thank you to everyone who joined us, and to our collaborators for making this exchange possible ✨ @a.dria.a.n @marcotulli @ronald.sanchez__ @bonet.hekit @ceibogallery @au_roxana @lilianastudiolab

Me pongo el sol al hombro y el mundo es amarillo Emerging from his time at McColl Center, Edison Peñafiel’s work unfolds through large-scale painted canvases and suspended figures that occupy space with both weight and fragility. Using acrylic wall paint, fabric, and iron-on transfers, he constructs environments where the body appears multiplied, dispersed, and in constant transition. Rather than resolving into a fixed narrative, the work holds a tension between visibility and obscurity—inviting a slower, more embodied encounter with presence, movement, and time. This film offers a closer look into that process, where gesture and installation converge. On view through April 11 at The Frank. — An exhibition film commissioned by The Frank C. Ortis Art Gallery Artist: Edison Peñafiel @edisonpenafielstudio Curator: Sophie Bonet @bonet.hekit Editor: Polm Studio @polmo_studio Filmed at the McColl Center, North Carolina, and Pembroke Pines, Florida @mccollcenter Presented by The Frank C. Ortis Art Gallery, made possible by the City of Pembroke Pines @cityofppines , with the support of the Broward Cultural Division @browardarts and @art.seen.365

Habitar una Nube by Adrián Sosa @a.dria.a.n and curated by @bonet.hekit , is on view through April 11th. This exhibition film was commissioned by The Frank C. Ortis Art Gallery☁ Filmed in Los Sosa, Tucumán, Argentina and Pembroke Pines, Florida Edited by @polmo_studio This exhibition is presented by The Frank C. Ortis Art Gallery in collaboration with @ceibogallery @pabellon4 @fulana.galeria

To inhabit a cloud is not a metaphor. While working on Habitar una Nube with Adrián Sosa, I kept returning to a simple image from Tucumán: a cloud of dust rising from a road, from flour spilled across asphalt, or from the smoke of the sugar mills that have long structured life in the region. I felt it in my throat. In Tucumán, the cloud is not poetic—it is historical. It marks seasons of labor, economies, and bodies. Se respira. Adrián’s work begins from that condition. His actions repeat gestures inherited from rural labor—marking land, fencing space, raising dust into the air. Gestures learned through the body, transmitted through generations of work in the fields. Not representation, but memoria encarnada. As a curator, working on this exhibition meant thinking through territory—not only as landscape, but as lived history. Tucumán is a place shaped by the sugarcane agroindustry and by the profound social transformations that followed the closure of many mills in the late twentieth century. The land remembers. The body remembers. The works in the exhibition unfold through video-performances where gesture, matter, and territory think together: earth, flour, smoke, metal, air. In these actions, the trace of labor does not only remain in the ground. Sometimes it lingers in the air. Sometimes history appears as something almost imperceptible— una nube. Curated at The Frank C. Ortis Art Gallery, Pembroke Pines. Spring 2026. In collaboration with Ceibo Gallery. Gracias Adrián, Brenda y Gabi 💛 @a.dria.a.n @ceibogallery @thefrankpembrokepines @fulana.galeria @pabellon4 @groybrenda @gabrielakarpiuk

Before it enters the studio, clay has already endured millennia of compression, erosion, and heat. This grouping stretches our attention outward — toward geology, terrain, and imagination. Surface becomes weathered memory. Lunar maps become emotional landscapes. Experiment becomes excavation. These works remind us that clay is both physical and projected — sediment and speculation at once. Matter carries origin. But it also carries possibility. Materia Viva is up through March 22 at Collective 62 @thecollective62 DM me to schedule an exhibition walkthrough 🤍 Images by @brookedavanzo.jpg ✨ artwork by @gerbitsesarskaia @hey.its.lo @franciebishopgoodart

Bodies are never fixed. They stabilize through connection, pressure, repetition. Clay behaves like a living system — leaning, adapting, recording touch. Structures interlock. Forms migrate. Residue becomes evidence. Rhythm shapes stability. These works approach clay not as an isolated object, but as a relational field — where contact matters, where balance is negotiated, where proximity leaves a trace. Clay does not exist alone. It forms through encounter. Materia Viva is on view through March 22 at Collective 62 @thecollective62 DM me to schedule an exhibition walkthrough 🤍 Artwork images courtesy of the artists ✨ @pili.fer @therealgiannina @ninasurel @nataliepriede Exhibition images by Brooke D’Avanzo and Studio Palco @brookedavanzo.jpg

Language is usually understood as speech. But what if it begins elsewhere? Here, clay functions as a carrier — of vibration, sediment, gesture, erosion. These works do not treat clay as surface decoration. They treat it as a medium of transmission. Sound fractures before it leaves the body. Soil becomes ink. Gesture becomes articulation. Memory dissolves unevenly. Here, clay does not preserve language — it absorbs it. It destabilizes it. It lets it shift form. What survives is not always sound. Sometimes it is residue. Materia Viva is up through March 22 at Collective 62 @thecollective62 DM me to schedule an exhibition walkthrough 🤍 Artwork images courtesy of the artists @inaravp @rahafilsoofi @angela.dicosola and @eduardo.sayegh Exhibition images by Brooke D’Avanzo and Studio Palco @brookedavanzo.jpg

Some houses are loud with memory. Others hold it quietly — in drawers, in kitchens, in corners no one photographs. A House of Small Altars lives in that quiet. What stayed with me while working on this exhibition is how much culture survives through use. Not through performance. Not through spectacle. Through repetition. A soup spoon used to feed someone. A rice cup filled and refilled. Incense lit daily without announcement. Thread that ties, repairs, holds. Historically, diasporic communities have preserved culture in precisely this way — through domestic ritual rather than public display. When migration reshapes language, geography, and visibility, the home becomes a primary site of continuity. Not because it is pure or unchanged, but because it is practiced. MaiYap was raised Catholic in Panama within a Chinese household. That coexistence — Guan Yu and the Virgin, Mandarin and Spanish, rice cups beside tropical landscapes — is not presented as contradiction. It is structure. The exhibition doesn’t resolve hybridity; it demonstrates how it operates in lived space. The numbers matter. 520. 88. They carry linguistic and numerological histories shaped over centuries. The materials matter. Porcelain traditions. Agricultural references. Textile lineages. But what matters most is the labor embedded in them. There is a tendency to monumentalize heritage — to freeze it, aestheticize it, or archive it. This exhibition resists that impulse. It locates cultural survival in maintenance: in feeding, offering, repeating, repairing. Culture, especially under conditions of displacement or assimilation, does not endure because it is declared. It endures because someone keeps practicing it. This show asks for slowness. Not because it is fragile — but because it is cumulative. Nothing here is monumental. And yet nothing is incidental. A House of Small Altars by @maiyapfineart is on view at Edge Zones Art Center (3317 NW 7th Ave Circle, Miami) through March 21. @edgezones Images by @rafanunezfoto 2- photo by @zairephoto Archival images courtesy of MaiYap

A living archive of Materia Viva at @thecollective62 ✨💛 Moments from opening day—artists, conversations, and community moving through the work. They also hold an activation that lived briefly and fully: Eduardo Sayegh’s outdoor installation, where a bookcase met water, collapsed, and transformed over the course of an hour. A work defined by time, exposure, and disappearance—witnessed in real time. Beautifully documented by Brooke D’Avanzo and Studio Palco, these photographs carry the show beyond the moment it happened, preserving the care of being present together. Deep gratitude to the artists and collaborators who made this possible: @ninasurel @nataliepriede @rahafilsoofi @inaravp @gerbitsesarskaia @pili.fer @franciebishopgoodart @hey.its.lo @eduardo.sayegh @therealgiannina @angela.dicosola

“Yo no tuve que aprender cosas nuevas para producir. Ya lo tenía. Era el entorno, los legados, el paisaje. Es lo que vi desde chico, lo que aprendí. Con esa misma memoria y esos mismos conocimientos, hacer otras cosas en el campo del arte.” “I didn’t have to learn new things to produce. I already had it. It was the environment, the legacies, the landscape. It’s what I saw as a kid, what I learned. With that same memory and that same knowledge, I can do other things in the field of art." -Adrián Sosa on inherited knowledge @a.dria.a.n 'Habitar una Nube' on view until April 11, 2026☁️ For more information visit our website🌐 Adrian Sosa: Habitar una Nube(To Inhabit a Cloud) is curated by Sophie Bonet, Chief Curator, and presented by The Frank C. Ortis Gallery in partnership with Ceibo Gallery in collaboration with Pabellón 4 Arte Contemporáneo and Fulana Galeria. @bonet.hekit @ceibogallery @groybrenda @pabellon4 @fulana.galeria @cityofppines

A few more moments from last Thursday ✨ Still sharing the energy, the conversations, and the joy of seeing these exhibitions come to life. If you missed the opening, the shows are now open and on view—we’d love to welcome you into the space. Adrián Sosa @a.dria.a.n Habitar una Nube Edison Peñafiel @edisonpenafielstudio Me pongo el sol al hombro y el mundo es amarillo On view through April 11. ✨ @bonet.hekit @ceibogallery @groybrenda @art.seen.365 @pabellon4 @fulana.galeria @browardarts @cityofppines