Roland Miller

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026. Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear. The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at [email protected] for PDF or viewing room.

YES!! excited to be back at NADA New York! This year splitting a booth with @roartservices 💙 Please join us for ‘Nature Sport’ featuring Chang Sujung and Assaf Evron in Booth E1 [P.A.D. + ro art services]. 🌳💙🌲💙🌳 Additionally find Martha Poggioli’s Kircher’s Spiral as part of the NADA Sculpture Projects sponsored by ro art services. 💙💙 May 13-17 at 601 W. 26th street 💙💙💙 More details in Bio. @unluckysnakesale #ChangSujung @assafevron #AssafEvron @roropaints #roArtSertvices @newartdealers #NADANewYork #PADNatureSport

P.A.D. (New York) and ro art services (Chicago) are proud to team up for the first time, presenting three artists from across the globe this year at NADA New York! 🌍💙🌎💙🌏 Chang Sujung lives and works in New York City. Chang was born in Seoul, South Korea, and moved to the US in 2014. She received her MFA from Hunter College in 2017 and BFA from Ewha Womans University, Seoul, South Korea, in 2013. Her recent solo and two-person exhibitions include Alteration, Laura (the Gallery), Houston (2025), Detour: cul-de-sac, International Waters, New York (2022), 88.61 lbs, Hesse Flatow, New York (2020), and Beginningless sky, Endless ground, Jungganjijeom, Seoul (2019). Assaf Evron (b. 1977, Israel) is an artist and educator based in Chicago. He received a BA from Tel Aviv University in 2007, and his MFA from the School of the Art Institute of Chicago in 2013 in Photography. He continued his education with a MA in 2017 from The Cohn Institute for the History and Philosophy of Science and Ideas at Tel-Aviv University. Recent Solo and Two-Person exhibitions include David Slain Creative (Chicago), Arts Club of Chicago (Chicago), S.R. Crow Hall (Chicago), Center for Digital Art (Holon), MCA (Chicago), Elmhurst Art Museum (Illinois), Neubauer Collegium (Chicago), Chicago Architecture Biennial (Chicago), Andrew Rafacz Gallery (Chicago), Haifa Museum for Art (Haifa), and Habres + Partner Galerie (Vienna).  Martha Poggioli is an Australian artist living in the United States. Poggioli has exhibited at; Colorado Springs Fine Art Centre (CO), John Michael Kohler Arts Centre (Sheboygan WI), Kunstgewerbemuseum (Dresden DE), MassArt Art Museum (Boston MA), Australian Tapestry Workshop (Melbourne AU), Mütter Museum (Philadelphia PA), Julius Caesar (Chicago IL), RMIT Design Hub (Melbourne AU), Houston Centre for Contemporary Craft (Houston TX) and SPACES (Cleveland OH).  🌍💙🌎💙🌏 Plan your visit and discover the best of contemporary art from over 110 international galleries and art spaces at newartdealers.org. Early-bird tickets are now available. 🌍💙🌎💙🌏 #newartdealers #nadanewyork #changsujung #assafevron #marthapoggioli @project_art_distribution @roartservices

CLOSING SATURDAY, 12-4 PM: Traces of Devotion with paintings and drawings by David Onri Anderson, Josiah Ellner, Leasho Johnson, Karen Seapker, Kyle Staver, Margaret R. Thompson and co-curated by MJ Lounsberry and Ro Miller. Please join us Saturday, Jan 24th from 6-9PM.   MJ first proposed the exhibition expressing a desire to exhibit artists for whom she has great admiration. Through discussion on the artists, their work and careers, a theme of devotion emerged as a commonality: artists with a commitment to painting, artists with a passion for figuration, and artists with tendrils of the spiritual. Each artist taking more or less from each of the themes, a relationship to the spiritual an ebbing and flowing within the group.   Their works trace the figure through many forms, both physical and metaphorical. At times approaching the spiritual sides of figuration, gesturing toward what lies just beyond the visible. At other times they build structures through human form. Some speak through repetition and ritual, others through intimacy and abstraction. Across these varied practices, each artist leaves behind a mark of touch, of time, and belief. The exhibition becomes, in a sense, an offering of voices reflecting on how the body can hold memory, belief, and the enduring impulse to connect the seen with the unseen.   Conversation on the exhibition began more than a year ago, with the topic of the figure and the spiritual being not only of great personal interest to both curators, but also having a storied history in our city. Chicago has been known for its appreciation of bold, idiosyncratic approaches to the figure, and even the city’s largest artistic institution has embraced combining art and the spiritual in no small part due to Frank Piatek. Both curators and countless others found his course Art and the Spiritual deeply impactful, and his class came up countless times during the exhibition’s planning. While just one small example, we hope Traces of Devotion extends the line of thought he drew for so many by sharing the sacred in the everyday and human form. Link in bio for full text, including documentation of Frank Piatek’s 2011 exhibition.

MIRROR MIRROR with @madeline.jane_ and @skelton1000kg closes March 7th. Documentation online at roartservices.com Smoke smoke smoke, talk and tension. Fragile, ecstatic, is this romance? Such sweet fantasy, alone in the studio making their imaginings, they bring the outside in. Another fab for spirals, vessels or projection remake us endlessly. Make make make, studio a factory. Sacred fetish of my mind: Go outside, share this place. Walking by the window, lookout! or see what we gave up. Looking through glass, we must all see the same? It’s a great big world out there - with children or LinkedIn, friends and family of industry wash it down with tea. So contemporary and so free, just another mythology. Forgot reflections we see through. My friend a double, best friend another. Cycle back, mirror’s a trap, we’re all lost in longing. She makes paintings fun and free: pictures of smoking, never any anxiety. He sees Princes and babies, never any pregnancy; just businessmen with cutlery. Flesh and bone staging grounds, theater of terror. Digital veils and archetypes, perfect tits and voids. The pretty silhouettes are all our own.

Smoke smoke smoke,
talk and tension—
fragile, ecstatic. Is this romance
or just sweet fantasy, alone in the studio,
making their imaginings,
bringing the outside in. Another fab:
spirals, vessels, projection
remake us endlessly.
Make make make—
the studio a factory. Sacred fetish of my mind:
go outside.
Share this place. ro art services announces MJ Lounsberry and Braden Skelton in MIRROR MIRROR, a two person exhibition of paintings and sculptures on the body, mind, what we make and where we lie. Building off her solo show “Proven Lollygaggers” with ro art services in Chicago, Lounsberry’s new paintings depict women in a fracturing utopian fantasy. Her figurative works present alongside Skelton’s hyper-performanative material objects of body horror. He most recently exhibited with Good Mother Gallery in LA. Opens FEB 12, 6-8PM, 154 E Broadway, Downstairs

Clean Grit closes today! Next up: @madeline.jane_ & @skelton1000kg in Mirror Mirror Located in the former Parent Company exhibition space, downstairs of 154 E Broadway in NYC.@roartservices is delighted to present paintings and sculptures by Christina Ballantyne, Maisie Corl, Michelle Grabner, Rodrigo Lara Zendejas, Patrick Carlin Mohundro, Dylan Rabe, Kellie Romany, David Sprecher and Emily Wisniewski. Bodies bodies bodies. Clean bodies, dirty bodies, bodies in the astral plane. Grounded bodies, cut-out bodies, bodies over time and space. New bodies, old bodies, bodies of thought forgotten and found. Bodies missing, bodies present, bodies seen and to be seen. Sore bodies, caring bodies, bodies for balm, salve and soap. Washing bodies, erasing bodies, removing marks they left behind. Memorial for bodies. Giving space to bodies. Feeling your body in a place, separate and together.

Bodies bodies bodies. Clean bodies, dirty bodies, bodies in the astral plane. Grounded bodies, cut-out bodies, bodies over time and space. New bodies, old bodies, bodies of thought forgotten and found. Bodies missing, bodies present, bodies seen and to be seen. Sore bodies, caring bodies, bodies for balm, salve and soap. Washing bodies, erasing bodies, removing marks they left behind. Memorial for bodies. Giving space to bodies. Feeling your body in a place, separate and together. Clean Grit opens Thursday, 6-8 PM in the former Parent Company exhibition space, downstairs of 154 E Broadway in NYC. Opening in alignment with the inaugural exhibition for the new @parent.company.gallery store front location, @roartservices is delighted to present paintings and sculptures by Christina Ballantyne, Maisie Corl, Michelle Grabner, Rodrigo Lara Zendejas, Patrick Carlin Mohundro, Dylan Rabe, Kellie Romany, David Sprecher and Emily Wisniewski.

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes. Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works. One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction. The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

Opening next Saturday, October 25th in NYC: ro art services is delighted to announce a solo exhibition of Assaf Evron. Taking place at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes. Special thanks to @osmos.online for hosting us and can’t wait to be back in NYC!

Thank you to Jaqueline Cedar @good_naked for organizing @split_level_fair - it has been great to share works I’ve long admired by @kazukiguzman and @essay.objects (@jeffprokash & @piggys_palace ) Today is the last day of the fair, so come on through if you happen to be in NYC and can make the trip to 102 Madison Ave! Also thanks to @bpkelly89 for including us in his write up in the WSJ qnd @et_photohome for the photographs!

@roartservices is delighted to announce participation at @split_level_fair this week, a selection of 15 young galleries championing emerging artists in a design-centered space.  Presenting works by Kazuki Guzman @kazukiguzman and artist-duo ESSAY @essay.objects (Jeffrey Prokash @jeffprokash and David Sprecher @piggys_palace ), “Shapes and Sounds” features sculptures selected from 3 separate series on the interplay of sound and form. Guzman’s “Hammer Study” blends the poetry of language, semiotics of traditional culture, efficiency of contemporary fabrication, and a subject dating back over 3 million years: the hammer. Embracing the ubiquitous tool as a symbol of labor and transformation, the works begin as formal and phonetic interpretations of Japanese onomatopoeia. Each sculpture takes inspiration for title and form in a Japanese expression of mimesis, and are then fabricated by combining 21st century technology with materials, colors, and treatments selected for their traditional cultural symbolism. Guzman’s “Kon-Kon,” for example, means to illicit the form of a hammer that would produce a clear, hollow knock, reminiscent of polite door-knocking or measured strikes on resonant material. This light weight hammer recognizes the diminished usage of hammers in contemporary times, with its diminutive size and lightweight form-factor more than enough for daily use. Inspired by a cross-peen hammer, “Kon-Kon” is perfect for putting up picture frames on a wall, and features a smaller top-face for starting tacks without risk of hitting one’s fingers. For information on ESSAY’s work, check the next post, or visit roartservices.com to see more about all the works heading to NY tomorrow!