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𝐂𝐎𝐌𝐈𝐍𝐆 𝐍𝐄𝐗𝐓 | 𝐌𝐚𝐤𝐞 𝐑𝐨𝐨𝐦 𝐢𝐬 𝐩𝐫𝐨𝐮𝐝 𝐭𝐨 𝐩𝐫𝐞𝐬𝐞𝐧𝐭 𝐒𝐚𝐫𝐚𝐡 𝐑𝐨𝐬𝐚𝐥𝐞𝐧𝐚 𝐢𝐧 𝐡𝐞𝐫 𝐬𝐨𝐥𝐨 𝐞𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 “𝐥𝐚𝐲𝐞𝐫 𝐛𝐲 𝐥𝐚𝐲𝐞𝐫”, 𝐨𝐧 𝐯𝐢𝐞𝐰 𝐌𝐚𝐲 𝟏𝟔 – 𝐉𝐮𝐧𝐞 𝟐𝟎, 𝟐𝟎𝟐𝟔. 𝐉𝐨𝐢𝐧 𝐮𝐬 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐨𝐩𝐞𝐧𝐢𝐧𝐠 𝐫𝐞𝐜𝐞𝐩𝐭𝐢𝐨𝐧 𝐨𝐧 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲, 𝐌𝐚𝐲 𝟏𝟔, 𝟔–𝟗 𝐏𝐌! ⁠ ⁠ Sarah Rosalena’s exhibition “layer by layer” brings together a new body of handwoven works that shift and collapse spatial dimensionality between landscape and atmosphere.⁠ ⁠ Coinciding with the upcoming unveiling of Rosalena’s monumental textile commission for the new David Geffen Galleries at @lacma , the exhibition expands her ongoing investigation - conceptually and physically - into weaving as a form of ecological mapping, where land, sky, and cosmos remain in constant relation, and constant flux.⁠ ⁠ Dimension and form are observed in the micro and macro, offering views of complex weave structures and new, voluminous forms that blend basketry and textile.⁠ ⁠ For inquiries, email [email protected] or message us on our collector hotline on WhatsApp +1 (213) 697-9422⁠ ⁠ ⁠ ⁠🔳◾️▪️▫️🔲

𝐌𝐚𝐤𝐞 𝐑𝐨𝐨𝐦 𝐢𝐬 𝐩𝐥𝐞𝐚𝐬𝐞𝐝 𝐭𝐨 𝐩𝐫𝐞𝐬𝐞𝐧𝐭 𝐁𝐢𝐱 𝐀𝐫𝐜𝐡𝐞𝐫: "𝐁𝐥𝐢𝐬𝐬 𝐌𝐚𝐢𝐧𝐭𝐞𝐧𝐚𝐧𝐜𝐞", 𝐨𝐧 𝐯𝐢𝐞𝐰 𝐌𝐚𝐲 𝟏𝟔 – 𝐉𝐮𝐧𝐞 𝟐𝟎, 𝟐𝟎𝟐𝟔. 𝐉𝐨𝐢𝐧 𝐮𝐬 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐨𝐩𝐞𝐧𝐢𝐧𝐠 𝐫𝐞𝐜𝐞𝐩𝐭𝐢𝐨𝐧 𝐨𝐧 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲, 𝐌𝐚𝐲 𝟏𝟔, 𝟔–𝟗 𝐏𝐌! ⁠⁠ ⁠ The paintings happen in the hours between, when things move more slowly. One starts when I get home from work. The summer heat shows no signs of relenting; on the drive home, I watched for mirages off the asphalt but found none. My roommate has gone to visit family for the month, so L. and I peel off our clothing as soon as we walk through the back door, retrieve beers from the fridge. We throw the windows wide open, but the air barely moves. Dirt from the floorboards sticks to my thighs when I sit on the ground to work. L’s sweat dampens the green chenille of the sofa and I wonder if the cushions have ever been washed, how long this couch has been in the house, how many generations of people have left the same mark.⁠ ⁠ — Bix Archer, May 2026⁠ ⁠ For inquiries, email [email protected] or message us on our collector hotline on WhatsApp +1 (213) 697-9422⁠

Sarah Rosalena’s exhibition “layer by layer” opens today. Join us for the opening reception at 6–9 PM. Rosalena intentionally collapses the distance between weaving and mapping: the woven surface becomes both image and object, both representation and terrain. Her interdisciplinary practice moves fluidly between basketry, digital technology, natural dye processes, and handweaving to consider how land is understood, recorded, and transformed. In Layer by Layer, material itself becomes a way of rethinking the landscape — not as something fixed or extractable, but as a layered, complex ecological system, living in continual change. For inquiries, email [email protected] or message us on our collector hotline on WhatsApp +1 (213) 697-9422.⁠

"We find our way to the water through a gap in the fence behind the soccer pitch. L. walks away down the beach, returning later to show me photos of a fish carcass. The grasses along the shoreline have blackened and curled since my last visit, like fingers beckoning inwards. I sink my feet deep into the sand, make my body continuous with the shoreline. We stay until the sun has slipped behind the far buildings and we get too cold."⁠ ⁠ Bix Archer⁠ Fort Tilden Cattails, 2025⁠ Oil on wood⁠ 18 x 18 in⁠ 45.72 x 45.72 cm⁠ ⁠ For inquiries, email [email protected] or message us on our collector hotline on WhatsApp +1 (213) 697-9422.⁠

Sarah Rosalena’s works Transposing A Form (2019) and Above Below (2020) are currently featured in the exhibition Grounded @lacma . ▫️ The Los Angeles County Museum of Art (LACMA) presents Grounded , a multi-media exhibition that invites visitors to contemplate land not just as terrain, but as a foundation for exploring history, ecology, sovereignty, memory, and home. Through 40 works by 35 artists based across the Americas and the Pacific, the exhibition illuminates how human experience is embedded in the land. Artists consider the lasting effects of colonialism and imperialism; share stories of forced migration and displacement; engage with Indigenous mythologies and motifs; and retell ancestral histories by forging new aesthetic languages. Curated by @gonzorita @dhyandra photo: Jennalee Harmon Transposing a Form, 2019 3D printed ceramic, MMS-2 martian regolith simulant, clay, glaze We look forward to presenting Sarah Rosalena’s solo exhibition “layer by layer” opening this Saturday 6-9PM.

#ArtistInFocus Bix Archer (b. 1997) is an artist from San Francisco. She received her MFA from the Yale School of Art in2025 and a BA from Yale College in 2019. She is a two-time recipient of grants from the Elizabeth Greenshields Foundation, and has been an artist in residence with the Royal Drawing School, the Vermont Studio Center and the Yale-Norfolk School of Art. “Another, on a Sunday while traveling up I-5. It rained for most of the drive past Redding, casting the sky a grey-blue that seems outside of time, unplaceable until it’s suddenly dark. Snatches of snow have begun to appear on the mountains that peek out from the grey expanse, fringed by green-black pines. As I work, the engine’s vibrations travel up through my arm, sending my hand dancing across the surface of the wood. The world moves through me as I move through it.“ — Bix Archer, May 2026 𝐉𝐨𝐢𝐧 𝐮𝐬 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐨𝐩𝐞𝐧𝐢𝐧𝐠 𝐫𝐞𝐜𝐞𝐩𝐭𝐢𝐨𝐧 𝐨𝐟 𝐡𝐞𝐫 𝐞𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 ”𝐁𝐥𝐢𝐬𝐬 𝐌𝐚𝐢𝐧𝐭𝐞𝐧𝐚𝐧𝐜𝐞“ 𝐭𝐡𝐢𝐬 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲, 𝐌𝐚𝐲 𝟏𝟔, 𝟔–𝟗 𝐏𝐌! For inquiries, email [email protected] or message us on our collector hotline on WhatsApp +1 (213) 697-9422.⁠

Sarah Rosalena’s exhibition “layer by layer” brings together a new body of handwoven works that shift and collapse spatial dimensionality between landscape and atmosphere.⁠ ⁠ Coinciding with the upcoming unveiling of Rosalena’s monumental textile commission for the new David Geffen Galleries at @lacma , the exhibition expands her ongoing investigation - conceptually and physically - into weaving as a form of ecological mapping, where land, sky, and cosmos remain in constant relation, and constant flux.⁠ ⁠ Dimension and form are observed in the micro and macro, offering views of complex weave structures and new, voluminous forms that blend basketry and textile.⁠ ⁠ For inquiries, email [email protected] or message us on our collector hotline on WhatsApp +1 (213) 697-9422⁠ 𝐉𝐨𝐢𝐧 𝐮𝐬 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐨𝐩𝐞𝐧𝐢𝐧𝐠 𝐫𝐞𝐜𝐞𝐩𝐭𝐢𝐨𝐧 𝐨𝐧 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲, 𝐌𝐚𝐲 𝟏𝟔, 𝟔–𝟗 𝐏𝐌! ⁠ ⁠ ⁠🔳◾️▪️▫️🔲

The pine needle weavings interrupt the rigid logic of the grid - bending - into irregular terrains and shifting surface past the axis of the warp and weft. Rather than reinforcing control, the woven structures behave as expanding, fraying, and resisting fixed form.⁠ ⁠ By integrating foraged pine needles into digitally drafted textile patterns, the works posit nature as an active material force - destabilizing technological precision. The needles push against technical stringency beyond a fixed extractable point, introducing asymmetry, density shifts, and material agency.⁠ ⁠ Sarah Rosalena⁠ Rattled Earth: Passing Shadow Sky, 2025⁠ Dyed pine needles, indigo, cotton yarn⁠ 49 x 56 x 1 in.⁠ 124.46 x 142.24 x 2.54 cm⁠ ⁠ For inquiries, email [email protected] or message us on our collector hotline on WhatsApp +1 (213) 697-9422.⁠

Wishing Andrew Sendor a happiest birthday! Thank you for the friendship and what you have created for the world! 💙

Congratulations to Xin Liu on her inclusion at the 61st Venice Biennale! New work by Xin Liu’s is now on view in the Uzbekistan National Pavilion at the 61st Venice Biennale until November 22, 2026. Presented in the Quarta Tesa at the Arsenale, Liu’s newly commissioned work responds directly to the context of the Aral Sea, and equally the larger metropolitan city of Venice. Centered on a dissolving sculpture made of PET plastics inside a bioreactor tank - suggestive of a skeletal creature or biomorphic plant - Liu imagines a world where metropolitan cities with an excess of manmade materials are confronted by the appetites of natural microbes. 🩵 Installation view, 𝘛𝘩𝘦 𝘈𝘶𝘳𝘢𝘭 𝘚𝘦𝘢, Uzbekistan Pavilion at the Venice Biennale, Italy, 2026. Photo credit: Gerda Studio 🩵 @xin_liu_studio @uzbekistan_national_pavilion @acdfuz @labiennale #xinliustudio #xinliuart #venicebiennale

Happy Mother's Day. 🤍⁠ ⁠ There is a kind of knowledge that doesn't come from books. It lives in hands, in gestures, in the way a mother steadies a child through their very first steps. The forest holds that same quiet intelligence. It shelters without asking, nurtures without speaking.⁠ ⁠ Camilla Engström's Guardian (2025) carries this energy: the quiet strength, the deep roots, the enduring feminine that shelters everything around it.⁠ ⁠ To every mother, and every form of guardianship that has shaped us. 🌿

Kahlil Robert Irving, Jedediah Caesar, and Maddie Butler operate within the unstable terrain - images, objects, and substances are shaped by processes that resist permanence. Across their respective practices, material remains unresolved, layered, mediated, and reconfigured, holding together multiple temporalities and contexts simultaneously.⁠ ⁠ Tomorrow is the last day of the show! Come experience these works before they're gone.⁠ ⁠ -⁠ ⁠ Jedediah Caesar⁠ Turmeric Brick, 2015-2025⁠ Turmeric, urethane, pallet⁠ 48 x 34 x 43 in⁠ 121.92 x 86.36 x 109.22 cm⁠ ⁠ Kahlil Irving⁠ Blacktop – Concrete w/MEISSENFragments, 2022⁠ Glazed and unglazed ceramic, sand, vintage decals, wood⁠ 39 x 21 x 21 in⁠ 99.06 x 53.34 x 53.34 cm⁠ ⁠ Maddie Butler⁠ Untitled, 2026⁠ CRT TV screen protector, smartphone fragments, iPhone photograph of a former friend, inkjet prints, resin, paint, hardware⁠ 7.75 x 10.5 x .25 in⁠ 19.68 x 26.67 x 0.64 cm⁠ ⁠ For inquiries, email [email protected] or message us on our collector hotline on WhatsApp +1 (213) 697-9422.⁠