JEFF | MARFA

This Saturday at @mcbride_dillman ⚡️⚡️⚡️ Sarah Alice Moran + Hannah Beerman @hannahbeerman @city_sarah Alice invites guests to bring your animal familiars 🐕🦮🐩🐕‍🦺🦴 On “Artists At Work” Substack read about her recently opened exhibition, “Splat Daisies” at McBride Dillman JEFF: Animals figure prominently in your work and also in your life. With your new show opening soon at McBride Dillman your recent work envisions pastoral scenes of human an animals co-existing without hierarchy in nature and architectural shrines devoted to our animal familiars. What has Pepper taught you about art and life? SAM: Pepper, who died last October, taught me a lot about not rushing and appreciating the moment that I’m in. She also gave me her affection with complete abandon, unhindered by insecurities. These are both lessons that, of course, apply to life, but they apply to painting as well. I try to be aware and focused on each part of the painting process, responding to what is in front of me at the moment. I also try to be fearless and joyful, to let go in the painting process the way Pepper could let go with her excitement about life (and balls!). - Artists At Work Substack #linkinbio #artistsatwork #sarahalicemoran #splatdaisies #womenpainters

New Substack Post on artist @city_sarah with a new show opening April 10 @mcbride_dillman “Meditations on female deities, animal companions and their significance throughout history, Moran creates a sanctuary for love, loss and magic to co-exist. Roman columns, rainbows and florescence offer a shrine to our familiars and guides across time, Moran’s paintings becoming a container for the mysteries of the universe.” — more on Substack #linkinbio SAM: My primary medium is thinned out acrylic paint on un-primed canvas, sometimes I add oil stick. I also make sculptures in ceramic, plaster or paper mache.  I developed my technique of thinned out acrylic paint on canvas for its speed and versatility. Because acrylic paint dries so quickly I’m able to make fast decisions and the paint can keep up with my thought process. I’m also able to apply the paint in different ways, sometimes with brushes, other times I use squirt bottles to draw with the paint or pour it directly onto the canvas and push it around with other tools. — Sarah Alice Moran #nycartists #womenartists #painters #sarahalicemoran

New Substack Post up on Artist @city_sarah @mcbride_dillman “An Offering: Allegory, Architecture & Animal Familiars in Sarah Alice Moran’s New Exhibition Opening At McBride Dillman April 10th, 2026” … “Sarah Alice Moran’s Arcadian visions, gestural compositions made with washes of acrylic punctuated with oil stick paint, offer a portal between memory and prayer, body and spirit, animal and human worlds. “ — more on Substack #linkinbio #sarahalicemoran #animalfamiliars #greekarchitecture #allegory

“Material Presence: Ancestral Knowledge, Conscious Consumption & Sustainable Practices in the Works of Karina Sharif” - Substack Post #artistsatwork #linkinbio @karinasharif @gallery_495 @lyle.gallery Slide 1 - Karina Sharif, “Seated, A Sacred Body in Earthly Creation”, 2025 Steel and paper. Courtesy Gallery 495. Slide 2 - Karina Sharif, Roseline in Paper, 2024. Courtesy of the Artist, Hao Zeng and Gallery 495. Slide 3 - Karina Sharif in her Brooklyn studio with a photographic work. December, 2025. JEFF: Can you tell us a bit about your chairs and repose series ? What is your relationship to rest ? KS: “The chairs are about taking a moment to stop, to be seen, respected and loved. Specifically for black women and femmes. For my practice, paper serves as a metaphor for the Black femme experience. It’s a medium we have high expectations for. It holds history, tells stories, it is commodified yet quite delicate and deserving of respect. In my photographic series, I adorned Black women in paper sitting or reclining. I had also personally been thinking a lot about rest as I had been taking care of my great auntie, who was in her 90s and I became exhausted and sick. I ended up in the hospital for 10 days. It taught me so much. I’d been photographing Black women in reclined positions, symbolizing their deity-nature, their queenlyness and then the Ganni store in Soho commissioned me to make a chair. That’s when the concept of repose and the chairs as the sculpture itself took root.”

Substack on @karinasharif #linkinbio @lyle.gallery @gallery_495 “Sharif has forged a distinct artistic practice from a lifelong engagement with sewing, pattern-making and fabrication honed in the fashion world early in her career. Disillusioned by an industry she felt did not value materiality or creative processes she turned away from the exhaustive consumption loop of the garment industry towards a generative practice embracing humble materials and centering knowledge, research and the power of rest as a right and privilege. ” - Artists At Work Substack #karinasharif #artistsatwork #substack #artists

New Substack up on Karina Sharif @karinasharif #linkinbio #karinasharif “Artist Karina Sharif creates sculptural works steeped in a divine black feminine consciousness, downloading inspiration from her matrilineal ancestry and lived experience. Sharif’s work is deeply engaged in listening; to her materials, her lineage and her own corporeal intelligence—connecting to those both present and departed with her works.” — ARTISTS AT WORK SUBSTACK

Don’t miss a walk through This Saturday March 14th at Noon by artist @alina_tenser at @septembergallery for her exhibition “Circuit Meander” curated by @olgadekalo works up through April 14 Exhibition images by Pierre LeHors Artist Portraits @willysomma “Moving between sculpture, video, and performance, Ukrainian-born artist ALINA TENSER’S practice foregrounds object hood and its relationship to the body. In her ongoing series entitled Sleeves, the body is absent but implied. “ —- Substack: /p/artists-at-work?utm_medium=social

Substack Post with Mexico City Artist Aurora Pellizzi @aurora.pellizzi this week ⚡️⚡️⚡️ Excerpt from our conversation below & more on Substack #linkinbio #substack #artistsatwork AP: I’m interested in how textile materials and techniques evolve sometimes simultaneously and independently across the globe and in other cases how they quickly spread to other parts and are absorbed and embedded as ‘traditional’ in other cultures. In my research and experience, textile practices form a web of interconnectedness between people and cultures that can blur geographical and patriarchal divisions and terms.

Interview with Mexico City based Artist AURORA PELLIZZI up on ARTISTS AT WORK Substack #linkinbio to subscribe #artistsatwork @aurora.pellizzi Excerpt from interview below: JEFF: The name of your exhibition at Instituto de Vision has many meanings — can you explain “petates” and “tapetes”? One is a ceremonial object, one more for domestic use ? Do you think about these contrasts when making the work? AP: “Petates” are Pre-Hispanic palm woven mats still in wide use today. They were traditionally used as moveable bed mats, as surfaces for offerings at altars, and for burying the dead within. “Tapetes” is the generic Spanish term for carpets. I find myself often collapsing divisions between the ritual and the quotidian because I find ceremony in the mundane and the ordinary in the sacred. For me ritual practice blurs those divisions and elevates humble materials into contemplative and sacred objects. Labor becomes ritual and process becomes sacred and it all stems from daily materials and practices.

New Substack post up on Artist Aurora Pellizzi @aurora.pellizzi An Archeology of Pattern Whatever strategy she employs—felted, woven, embroidered, assembled or sewn—artist Aurora Pellizzi mines the histories of indigenous, Renaissance and modern craft techniques creating her own distinct symbology, a self-described “archeology of pattern”. Apropos that a daughter of anthropologists raised in Mexico, New York and Italy should excavate these disparate histories—archaeological, cultural and geographical—to create expansive works that confront scale, materialize myth and ultimately, challenge the hierarchies of artistic production within the discourse of contemporary art.

“Undisclosed Recipients” is the alias for the creative partnership of Victoria Bartlett and Zachary Joslow, an artistic collaboration that, if you know you know. @undisclosedrecipientsnyc We visited with Victoria and Zac in their studio at the Chocolate Factory building in Bed-Stuy and chatted with them about materials & form. The artistic duo has commandeered the building’s rooftop gym as their workshop. They sand, paint and reconfigure wires amongst the barbells and treadmills with a view of Manhattan. More in Substack post #linkinbio #tosubscribe #artistsatwork #artistsatworksubstack

New Substack Post Up Rescue Me: Art Designed to Save Us Victoria Bartlett & Zachary Joslow aka UNDISCLOSED RECIPIENTS @undisclosedrecipientsnyc A slender curvilinear bench, a lamp made from a rock and a sieve, a stool hanger, a thoracic chair and a life jacket chaise. Technically skilled, tenaciously formed by steam, hand saw and chisel from reclaimed wood, fabric, metal and sometimes granite, these sculptures masquerading as furniture do too hang from above and light the room, sit on the ground and cradle your softest flesh. More in Artists At Work Substack #linkinbio /