samantha roth

Memory Jogging, 2025 Colored pencil and black gesso on paper mounted panel 39 x 25 x 1 inch (99.06 x 63.50 x 2.54 cm) I’m very happy to get the chance to share this trippy drawing. I hope you’ll come see it in “It’s Crossed My Mind” the group exhibition up at Tyler Park Presents right now. There will be a reception this Saturday 12/13 4-6pm, with works by Andrea Chung, Henri Paul Broyard, Jessica Palermo, Pau S. Pescador, and Samantha Roth. @tylerpark_presents

Just a few days left to catch “Tender Tooth” in “Holiday” at Harper’s, up through Dec 21. The installation looks beautiful from afar, with lots of small and stunning works hung quite perfectly salon style. 🌿🌱🌾 Tender Tooth, 2024 Colored pencil and black gesso on paper mounted panel 20 x 16 inches @harpersbooks

🚨SOUND THE NEW ART ALARM‼️ Watch a little behind the scenes of us putting up “Cactus Hour” by artist Samantha Roth. This piece is now on view on the 4th floor of Beckman and we think it looks stunning!!!

Check out “Palindromes” in the “I Make My Bones” group show at Tyler Park Present’s new space on Jefferson! Up through October 19, 2024. Palindromes, 2024 Colored pencil and black gesso on paper-mounted panel 18 x 24 x 1.5 inches The word “swims” is a half turn ambigram, if you rotate it 180 degrees, it can be read upside down. Most ambigrams are visual palindromes, which is how the act of swimming often feels to me. Up, down, forward, back, you can lose yourself in the idea of the directionality and gravity that we feel above water. Arms and legs are equally important in movement and I often feel like I am both the swimmer and observing myself swimming. Like many swimmers (and Tauruses?) I feel a deep sense of relief when I get into the water. It is cooling, refreshing and often wakes me up–hence the eye open under the water and closed above, a reversal of what we might expect. The surface quality of my drawings has long been integral to the experience of the work and I have been searching for a way to ensure that can be seen. The drawing is on the same heavyweight textured printmaking paper with painted black gesso swept in varied directions across the surface leaving lots of small grooves and directional marks for the colored pencil to sit on. But, it is now archivally mounted to panel, with a subtle fabric pasted edge covered by more black gesso on the sides. It’s a seamless solution retaining the surface quality while allowing for close examination 🤓. 📷 @bricamachine

Final day of “Double Take” at Tyler Park Presents! Open 11-5pm :) Here are a few of my favorite details 🔎

This Saturday is the last day of my show “Double Take” at Tyler Park Presents! I’ll be there 2ish-5ish on Saturday if you want to say hi 👋🏼 “Mother-in-Law’s Tongue”, 2024 Paper, black gesso, colored pencils Framed: 32.5 x 25.25 x 1.5 inches (82.55 x 64.13 x 3.81 cm) “Free Mother-in-Law”, 2024 Paper, black gesso, colored pencils Framed: 13.5 x 10 x 1.5 inches (34.29 x 25.4 x 3.81 cm)

👀 Just one more week to catch “Double Take” @tylerpark_presents 👀 “Vice Versa” and “Versa Vice” are up in the window room of the gallery, made specifically for that intimate space. I was thinking about the idea of pausing a nebulous moment in time, and standing between two views, one of your own perspective, and the other of a viewer’s, hoping to catch the smallest snippet of a feeling of the simultaneity inherent in every action of a new parent. ➿➿ “And in the mirrored pair Vice Versa and Versa Vice, we see disembodied hands tossing play silks in the air, one from the perspective of the parent and the other from the imagined view of the child. Roth’s black gesso, much like the transition to parenthood, can feel like a dark abyss, but it also puts everything—even the most ephemeral, delicate moments—into stark and glowing relief.” -Artforum critic’s pick by Andrea Gyorody 🖤 Vice Versa, 2024 Paper, black gesso, colored pencils Framed: 28.5 x 22.5 x 1.5 inches (72.39 x 57.15 x 3.81 cm) Versa Vice, 2024 Paper, black gesso, colored pencils Framed: 28.5 x 22.5 x 1.5 inches (72.39 x 57.15 x 3.81 cm)

“Night Owl”, 2024 Paper, black gesso, colored pencils Framed: 57.75 x 39.25 x 1.5 inches (146.68 x 99.69 x 3.81 cm) “In Roth’s drawings, typical sights morph into mysterious visions. In “Night Owl”, the backside of a crowded bookshelf appears out of a dark, empty background. Glowing lamps perched on each shelf emit light that, under her hand, takes on an oozing, bacterial quality, their color leaking across the space. These unusual scenes are both mundane and magical…” (( Favorite use of the word “leaking” in press release by Claudia Ross @qlaudiahh )) “Double Take” is up through Saturday, May 25th at Tyler Park Presents!

🎉 A really touching Critic’s Pick review by the truly delightful Andrea Gyorody up on Artforum today! I am so honored to read this thoughtful writing about “Double Take”, my solo exhibition up at Tyler Park Presents through May 25th. “Roth’s black gesso, much like the transition to parenthood, can feel like a dark abyss, but it also puts everything—even the most ephemeral, delicate moments—into stark and glowing relief.” 🥹 @gyorodyody @tylerpark_presents @artforum

“Committed”, 2024 Paper, black gesso, colored pencils Framed: 42.5 x 22.5 x 1.5 inches (107.95 x 57.15 x 3.81 cm) One of my favorite views in “Double Take” is “Night Owl” and “Committed” in conversation. When you take a step to the side, you can see “Free Mother-in-Law” tucked in between. “Double Take” is up through May 25 at Tyler Park Presents! Open Tues-Sat 11-5. Pop over, get a salad and reminisce about your first apartment in Los Angeles (that’s what I do when I visit).

“𝘓𝘢𝘵𝘤𝘩, 𝘞𝘪𝘭𝘥 𝘊𝘢𝘳𝘥, and 𝘈𝘧𝘵𝘦𝘳 𝘉𝘳𝘪𝘥𝘨𝘦𝘵 𝘙𝘪𝘭𝘦𝘺 take inspiration from the high-contrast images used to stimulate newborns, when their eyes cannot perceive neutral, muted tones. Roth transforms their patterned black-and-white surfaces into clownish costuming that alters the appearance of the adult body. In Wild Card, the attempt to make oneself visible to the child has the converse result for the viewer: the figure, cloaked in a polka-dot suit and white gloves, holds a sheet of paper up to its face, a wavy line drawing taking the place of the subject’s actual identity.” Latch,2024 Paper, black gesso, colored pencils Framed: 42.5 x 28.75 x 1.5 inches (107.95 x 73.02 x 3.81 cm) After Bridget Riley, 2024 Paper, black gesso, colored pencils Framed: 42.5 x 28.75 x 1.5 inches (107.95 x 73.02 x 3.81 cm) Wild Card, 2024 Paper, black gesso, colored pencils Framed: 42.5 x 28.75 x 1.5 inches (107.95 x 73.02 x 3.81 cm) 3 of 12 new drawings in “Double Take” @tylerpark_presents ! 📷 @bricamachine

Thank you to everyone who made it the opening of “Double Take” on Saturday! It’s a true pleasure to share the work. Thank you to Joe for taking care of us and especially for getting us through the early days of the cactus hour. “These unusual scenes are both mundane and magical: in “Cactus Hour”, a phrase used to describe a kind of “witching hour” for infants, hands emerge and clutch around the sides of cacti, as though attempting to care for its prickly exterior. The surreal, metaphorical, and literal hold equal weight in Roth’s work, emphasizing the eye’s ability to warp its surroundings under new circumstances.” Cactus Hour, 2024 Paper, black gesso, colored pencils 49 x 44.5 inches (124.46 x 113.03 cm) … And in case you missed it, it was a matching set 👗 Up through May 25 @tylerpark_presents !