IDIORHYTHMS
Trough April 19, 2026 COUR Groenplaats 42, 2000 Antwerp, Belgium 1st Floor _____________________________________
The exhibition Idiorhythms assembles four artistic practices whose core could be described as ‘elemental’. Each leverages the unique properties of a chosen material to achieve a kind of tactile virtuosity. Each also eschews industrial production in favour of artistic autonomy and skill, the bedrock of a highly individual style.
The term ‘idiorrhythmia’ originally referred to a ‘self-regulated’ form of monastic life, in which monks lived side by side but followed their own internal schedules in work and worship. In places like Mount Athos, where idiorrhythmic monasticism endures, the texture of monastic life is thus neither communal nor entirely solitary. It is a fantasy of coexistence without synchronisation, of living together apart (à la Roland Barthes).
In the realm of artistic production, rhythm has a trifold meaning: it could say something about the personal routines, rituals, and research methods accumulated throughout an artist’s career; it could indicate a frequency or mode of engagement with the commercial circuit, a certain relationship to showing work, between poles of exposure and productive silence; or it could bear on the material itself – the bulk and grain of wood planks in dynamic juxtaposition, fur patterns hand-stitched onto cloth, the waning translucence of urethane rubber, the chilled lustre of black steel.
The exhibition does not calibrate or harness these rhythmic signatures. It draws attention to the luxuriant tone of their entanglement and resonance, and to the straightforward poetry of the objects that convey them. _____________________________________
WITH WORKS BY:
Rich Aybar, Grace Atkinson, Lewis Kemmenoe, Noir Métal
IDIORHYTHMS
Trough April 19, 2026 COUR Groenplaats 42, 2000 Antwerp, Belgium 1st Floor _____________________________________
The exhibition Idiorhythms assembles four artistic practices whose core could be described as ‘elemental’. Each leverages the unique properties of a chosen material to achieve a kind of tactile virtuosity. Each also eschews industrial production in favour of artistic autonomy and skill, the bedrock of a highly individual style.
The term ‘idiorrhythmia’ originally referred to a ‘self-regulated’ form of monastic life, in which monks lived side by side but followed their own internal schedules in work and worship. In places like Mount Athos, where idiorrhythmic monasticism endures, the texture of monastic life is thus neither communal nor entirely solitary. It is a fantasy of coexistence without synchronisation, of living together apart (à la Roland Barthes).
In the realm of artistic production, rhythm has a trifold meaning: it could say something about the personal routines, rituals, and research methods accumulated throughout an artist’s career; it could indicate a frequency or mode of engagement with the commercial circuit, a certain relationship to showing work, between poles of exposure and productive silence; or it could bear on the material itself – the bulk and grain of wood planks in dynamic juxtaposition, fur patterns hand-stitched onto cloth, the waning translucence of urethane rubber, the chilled lustre of black steel.
The exhibition does not calibrate or harness these rhythmic signatures. It draws attention to the luxuriant tone of their entanglement and resonance, and to the straightforward poetry of the objects that convey them. _____________________________________
WITH WORKS BY:
Rich Aybar, Grace Atkinson, Lewis Kemmenoe photo by @ange_jules
APSIS RUBBER TABLE, 2025
I was thinking about skateparks — about the architecture of reclaimed space, the way a curb or a drained pool becomes a playground. How you can coax joy out of what is considered derelict. The pool is empty, but this table is brimming. I kept circling back to that moment when water sits right at the edge, tense but calm, like it might spill but it doesn’t.
16.25 W × 16.25 D × 9.5 H in 48lbs
41W× 41D ×24Hcm 21.8kg
Available to order at
Honored to have a few of my pieces woven into the dinner tableau at last week’s Jean Royère dinner. Grateful to be in such esteemed company, and always glad to join forces with such a venerable house. Here’s to future crossings. Special thanks to @jonathan.d.wray
Branding for R.A. Workshop (@r.a.workshop ) — creative studio founded by Rich Aybar producing sculptural furniture and objects that blend organic textures with industrial processes.
Installation view of RUBBERWORKS
RUBBERWORKS, a solo exhibition is on view through October 8, 2025.
Featuring over twenty five sculptural lighting and furniture pieces (continuing an ongoing exploration with polyurethane and natural Amazonian rubber as well as found materials such American chestnut cold-rolled steel.)
TIWA Gallery
86 Walker Street, 5th floor
New York City
Vernissage September 4, 2025
6-9pm
TIWA Gallery
86 Walker Street, 5th floor
New York City
I am pleased to present Rubberworks
a solo exhibition at TIWA gallery which centers on the gravitational pull of rubber, a longtime fixation of mine.
Simultanously industrial and organic; supple yet durable; translucent but enigmatic.
rubber transforms in color and tone across a signature amber-scale spectrum: from smutty browns to warm golden hues.
I am continuously drawn in by the uncanny transparency of industrial rubber, a material mired in the ecology of empire and industrial turn — its sedimentary amber cast hinting at the dense histories embedded within.
Rubberworks will be on view September 5 through October 8, 2025
#RUBBERWORKS #TIWAGALLERY #RUBBER #INDUSTRY
DUET
♾️
SEPT 4-8
WSA
Honored to be invited to Duet, by Kyle DeWoody and Zoe Lukov.
Inspired by conversations around duality — yin and yang, partnerships, twins and two spirits, mirrors, shadows and reflections, selfies and avatars, replication, reduction and the cannibalizing of self and other, Duet is an exhibition that explores the magnetic tension between two forces. From the choreography of the pas de deux to the playful rhythm of double dutch, the vulnerability of companionship and the joy of the do-si-do, the energetic link of twins and the uncanny doppelgänger, the good fortune of ibeyi and the origin story of Adam and Eve, the curves of infinity’s figure eight and the spiral of DNA’s double helix, Duet celebrates the alchemical power of two.
#mecedormogollon
Winter 2025: I had the honor of being a resident at New Wave Art Residency—a few transformative months by the ocean in Palm Beach that deeply shifted my practice.
These images are a first look at the work that came out of that time—a preview of my upcoming solo show in NYC this September.
Huge thanks to our partners: @uovo.art , @gavlakgallery , and katerina llanes—your support means everything. @kmlxo@missgavlak
Residencies like New Wave are rare and vital—especially for underrepresented artists. The space, the time, the ocean… it was generative in ways I’m still unpacking.
More soon.
#newwaveartresidency #artistresidency #behindtheart #soloshow #artnyc #contemporaryart #sneakpeek
SALONE 2025 - - Honored to have been a part of:
The “Theater of Things” an experiment in living with design. For the duration of Milan Design Week, it transformed a Milanese storefront into a living domestic stage —
“The Theater of Things”
7 Nights and 7 Days Living with Collectible Design
8-13 April, 2025
From 9.30 am to 7 pm
Delvis (Un) Limited
Via Fatebenefratelli 9
Milan 20121
The exhibition presents new works by:
Objects of Common Interest @objects_of_common_interest
Stefania Ruggiero @steaci
Niki Danai @niki_danai
Laurids Gallée @laurids.gallee
Linde Freya Tangelder @lindefreya_tangelder
Espace aygo @espaceaygo
Many special thanks to the dream team of curators: valentinaciuffi and @josephgrima
Photo: @dsl_studio@piercarloquecchia
