August 20 - September 19, 2021
Adam Boyd, Cab Kenningale, Erika Krause, Gillian Haigh
Hasani Sahlehe, Irina Patrusheva, Leka Mendes, Loren Erdrich
Madeline Peckenpaugh, Na Liu, Renata Cassiano Alvarez
Ryosuke Ishii, Sam Mack, Tahanny Lee
Travis LeRoy Southworth, Véronique Chagnon Côté
August 14 - September 19, 2021
Tiger Strikes Asteroid #ArtistRun2020
Mark Joshua Epstein
young space views
Since 2017, Young Space has sought to create a platform for virtual exhibitions, whether autonomously online or connected to a presentation in a physical space. Over time, they have become seasonal opportunities for early career and emerging artists to showcase their work. In response, Young Space Views was born: an integrated virtual platform for regular Young Space exhibitions, collaborations, online residencies and additional special projects. Please contact Kate for more information, or read more about Young Space here.
Ben Dickey David Woodward Hawazin Al Otaibi
Henry Curchod Jessica Matier Judd Schiffman
Julia Blume Katie Kirk Kyle Kogut
Lewinale Havette Lucija Krizman Mao Chen
Morteza Khakshoor Todd Kelly Vernon O’Meally
Opening May 21, 2021 at 12pm EST, views.yngspc.com
On view through June 20, 2021
Young Space is pleased to present STRANGE PARADIGM, an exhibition by sixteen artists from around the world, marking the tenth online group exhibition presented by Young Space. As people around the world gradually, if trepidatiously and with some setbacks, begins to stir and reemerge from a unique period in history, Strange Paradigm brings together a wide range of paintings, photography, printmaking, video, sculpture, and installation, in an exploration of the experience of jamais vu. The inverse of déjà vu, jamais vu borrows from the French for “never seen,” in which a situation that is familiar in fact seems novel or eerily unfamiliar. Where does strangeness end and familiarity begin?
Each artist in some way explores notions of selfhood and cultural identity through depictions and distortions of imagery to examine relationships between emotional and physical experience. The viewer is not always able to make out distinct features of the subjects, such as in Hawazin Al Otaibi’s fuzzy portraits that examine notions of gender and masculinity, especially in Arab culture, in the age of social media. Lewinale Havette’s sumptuous autobiographical figures confront the viewer as a declaration of metamorphosis from a rigidly orthodox Liberian childhood to an independent woman, ever becoming. And Morteza Khakshoor’s somewhat humorous, twisted studies of men and their behaviors are discombobulating in the artist’s “pure curiosity in a species, like the people who are interested in studying ants.”
Todd Kelly’s canvases employ a repetitious process that replicates facets of earlier iterations, searching for ideas beyond conscious reach, and David Woodward traces what the artist describes as the interconnected and endlessly unpredictable feedback loops of the codependency of humans and the environment. Julia Blume seeks to break down a similar relationship into its parts: the false dichotomy of “humans” and “nature,” and considers the political implications of this artificial separation, while Vernon O’Meally’s electrically high-contrast paintings hover somewhere between Dutch still life and a scene from Beetlejuice, each surface activated by the use of spray paint and textured paint mediums.
Cultural clashes and deep-seated mythologies inhabit the works of Yesiyu Zhao, who spent the first half of his life in China, and now resides in America. Mao Chen’s intricate, playful ceramics also combine a dual sense of conflict and contradiction as the artist expresses the surreal experience of adjusting to culture and life in Canada after growing up in China as well. Henry Curchod’s dreamlike scenes are likewise gorgeous, loosely narrative results of a fascination by the historical cross-pollination of cultures.
Relating specifically to American culture, Kyle Kogut draws upon the visual culture of the Northern Renaissance, and the ubiquitous iconography of the auto industry to explore the contemporary politics of American myth and despair. Judd Schiffman utilizes clay as a drawing material, constructing ceramic wall sculptures as psychedelic concoctions of lived and imagined experiences that ponder the power of our personal stories amidst growing social and political tensions that illuminate how we identify with our own stories of how things should be. And grounded, in part through his experience of mental health and disability, Ben Dickey’s practice is defined by a need to express, direct, and come into dialogue with creative desire, emotional struggle, and perceptual exploration.
Jessica Matier, turning inward to the self, plots internal landscapes to illustrate the flow of subconscious energy, and to effectively create opportunities for growth through the process itself. Katie Kirk’s twirling ceramics playfully celebrate difference, and the passage of time as it imprints up on the body. And Lucija Krizman’s futuristic, otherworldly installations pursue the big questions of whyand how, inextricable from the search for a higher and hidden self. Indeed, how did we get here, and what does it mean for things to feel “normal?”
The mythologies and ambiguities of memory and personal identity are central to this collection of work, as the artists in Strange Paradigm question a range of quintessentially human responses and instincts to situations perceived to be outside of our control, such as the primal sensations of fear, desire, despair, or hope, and the transitional phases of rites of passage. Introspective and autobiographical works nestle alongside investigations of cultural symbolism and the occult, bearing witness to journeys through various stages of consciousness, and observing the enigmatic nature of the passing of time and the ambiguous boundary between the known and unknown, the common and the uncanny.
About the Artists
Ben Dickeyhas had recent solo exhibitions at Gallery 44 (2019), Sidespace (2018), and Tapworks (2018), in Toronto, and recent group shows at Gallery 44 and Galerie ERGA, Montreal. He has self-published numerous collections of photography, and was recently featured in Ain’t Bad Magazine. Dickey earned a Bachelors from Mount Allison University, and lives and works in Toronto, Canada.
David Woodwardis a queer, visual artist based in Tkaronto/Toronto, ON, who works predominantly in paper collage using found imagery and photographs. Since graduating from the Bachelor of Fine Art and Art History programs at Queen’s University (2013) his work has been exhibited in Canada and abroad. He is a recipient of the Emerging Visual Artists Grant from the Toronto Arts Council (2017, 2020), a Research & Creation Grant from the Canada Council for the Arts (2019) and most recently a Visual Artist Creation Project Grant from the Ontario Arts Council (2021).
Hawazin Al Otaibi (b. 1993) is a London-based Saudi-American interdisciplinary artist, curator, and music producer who earned her BA in Painting at the University of the Arts London and is currently working toward her MA in Painting at the Royal College of Art. Recent exhibitions include group shows in London with Justin Cook Gallery (2019), Fitzrovia Gallery (2020), and Sook Mayfair (2020).
Henry Curchod (b. 1992) is a Sydney-based artist working primarily in painting and drawing. Born in California and now based in Sydney, Curchod is of both Kurdish-Iranian and Australian descent. Curchod has been a finalist in: The Sulman Prize (2014), The Mosman Art Prize (2015), The Adelaide Perry Prize for Drawing (2014); awarded The Cérét Residency, Languedoc-Rousillion, France (2016) and The JOYA Project Residency, Manilla, Philippines. Curchod recently has had solo shows with Sumer Gallery, Tauranga (2019); and Tristian Koenig, Melbourne (2018). He has upcoming solo exhibitions with Sumer Gallery, Tauranga (2021); Martin Browne Contemporary, Sydney (2021), and Galeria Acapella, Napoli (2021).
Jessica Matier attended Parsons School of Design. In 2016 she departed from watercolor and collage practices to pursue a mixed media approach to abstract painting. Her work was in group exhibitions in the New York City, New Jersey, Chicago, FSU Museum of the Arts, and The Other Art Fair, Brooklyn. Matier was born in South Korea in 1985. When she was three months old, she was adopted and raised in New Jersey, where she currently resides. Recent exhibitions include shows with I Like Your Work Podcast (2020), The Visionary Projects (2020), Orchard Galerie, New York (2019), Plaxall Gallery, New York (2019), and The Other Art Fair, Brooklyn (2019).
Judd Schiffman is a Providence, Rhode Island based artist working primarily in ceramics. He has lectured at Harvard University Ceramics and Brown University, and participated in residencies at the Zentrum Fur Keramiks in Berlin, Germany and Arch Contemporary in Tiverton, Rhode Island. Schiffman received his MFA from the University of Colorado in 2015, and his BA from Prescott College in 2007. Schiffman has most recently shown at Taos The Valley Gallery in Taos, NM, 1969 Gallery in New York, and Inman Gallery in Houston, TX. Schiffman has upcoming solo exhibitions with Maake Projects in State College, PA, and Jane Hartsook Gallery, New York. In 2016, he received an emerging artists award from the National Council for the Education of Ceramic Arts. Schiffman is currently the Visiting Assistant Professor of Ceramics at Providence College.
Julia Blume is a New York based artist working in several media, including painting, drawing, sculpture, and installation. She received her MFA from SFAI in 2018, after earning her BA and MA in linguistics from Columbia University and UC San Diego, respectively. Her work has been shown at galleries in New York, San Francisco, and Tucson, including Brian Leo Projects, RSOAA, Trestle Gallery, Field Projects, Paradice Palase, and Established Gallery. She has also created site-specific installations and performances in a range of environments, including Peru, Iceland, New York City, and Arizona. She participated in residencies with Signal Fire in 2017 and in 2019 and will be a resident at ChaNorth and ArtsIceland in 2021.
Katie Kirk is an artist, curator, and writer currently living and working in Los Angeles. She earned a BA in Film and Television Production from Loyola Marymount University and her MFA in Painting and Drawing from the School of the Art Institute of Chicago. Her work has been exhibited at Irvine Fine Arts Center, the Torrance Art Museum, Brandt-Roberts Gallery, and most recently, Wonzimer Gallery.
Kyle Kogut(b. 1990 Philadelphia, PA) is an artist working in drawing, sculpture, video, performance and installation. Kogut graduated with a MFA from the Mount Royal School of Art multidisciplinary program at MICA in 2016. He received his BFA from Tyler School of Art in 2012. His work has been included in group shows nationally and has had solo and two person exhibitions at Gateway Gallery (Baltimore), Samuel (Chicago), Kitchen Table Gallery (Philadelphia), Stamp Gallery at the University of Maryland (College Park), KO Studio Gallery (Detroit, and Cherry (Richmond). Kogut was a member of FJORD and taught at Tyler School of Art in Philadelphia, PA from 2016-2018. Kogut was awarded a Space Grant in the Summer Studio Program at the Anderson at Virginia Commonwealth University and will be attending the Summer Residency Program at the Wassaic Project in 2022. He currently resides in Norfolk, VA and teaches at Virginia Commonwealth University, Old Dominion University, and Virginia Union University.
Lewinale Havette(b. 1990, Monrovia, Liberia) has participated in exhibitions in museums and galleries in the United States and in Europe, including the Museum of Contemporary Art Georgia (MOCA GA) and the MINT Gallery in Atlanta; the Masur Museum of Art in Monroe, Louisiana; and The ROOM Contemporary Art Space in Venice, Italy. In addition, she was represented by the Pérez Art Museum Miami at Art Basel Miami. She earned a BA from the University of Alabama at Birmingham, and currently lives and works between New York City and Atlanta, GA.
Lucija Krizmanis an artist from Zadar, Croatia. She is currently based in London where she studies MA Sculpture at the Royal College of Art. She was awarded several prizes while studying at the Central Saint Martins for her bachelor’s degree and she is the winner of the Frankopan Fund Scholarship for outstanding students from Croatia studying in the UK. Krizman participated in exhibitions across Europe and had a solo show in the Greta gallery in Zagreb. She participated in an online residency at the Freud Museum in London alongside 17 other MA Sculpture students and the work produced is currently on display online as a part of the “I Object” exhibition.
Mao Chen is a recent Master of Fine Art graduate from the University of Calgary. She holds a BFA from The University of Alberta and has exhibited her work in the United Kingdom, China and at numerous galleries in Alberta, including solo exhibitions at Nickle Gallery (2019) and The Bridge (2018).
Morteza Khakshoor (b. 1984 Iran) currently lives and works in Southern California. He moved to the US in 2010 to continue his education in Fine Arts. He received his BFA from Lyme Academy College of Fine Arts in 2015 and completed his MFA at The Ohio State University in 2018. He has been exhibiting his work nationally and internationally since 2011. Solo exhibitions include ‘Forty-One Drawings and Prints’, University Art Gallery, California State University (2018) and; ‘What Has Become Of Your Strength’, George Mason Atrium Gallery, George Mason University, Fairfax, VA (2016). Group Exhibition include, ‘Humoral Theory’, (3-Person Exhibition), BEERS London, UK (2020); ‘Woolwich Contemporary Print Fair’, London, UK; ‘Art on Paper Fair’, The Tunnel, NY (2019) and; 2018 Edition Artists Book Fair (E/AB), New York, NY. He is the recipient of many awards, including The Inaugural Emerging Artist Award given at the Editions/Artists’ Book Fair (E/AB) in 2018. His works are in several private and public collections, most notably The Ford Foundation Center for Social Justice in New York City.
Todd Kelly was born in Niles, MI, and now lives and works in Brooklyn, NY. He has had several solo exhibitions with Asya Geisberg Gallery in New York City, along with recent group shows at the Woodstock Artists Association Museum, Woodstock, NY (2021), Geoffrey Young Gallery, Barrington, MA (2018) and NARS Foundation, New York (2018).
Vernon O’Meally(b. 1989, Atlanta, GA) currently lives and works in New York City. Selected solo exhibitions include ABXY Gallery, New York (2020) and Ghost Gallery, Brooklyn, NY (2017). Recent group exhibitions include OVR art fairs with Allouche Gallery (2020, 2021), Kunstkraftwerk Museum, Leipzig (2019), and Skeivo Gallery, Brooklyn (2019). In 2019 O’Meally participated in the Pilotenkueche Artist Residency in Leipzig, and has contributed numerous works for benefit auction in New York.
Yesiyu Zhao(b. 1991) was born in Suichang, China. He received his Bachelor’s in Fine Art from the School of Visual Arts, and his MFA in Visual Arts from SUNY Purchase College in 2020. He has lived in America for more than 15 years, and now lives and works in Brooklyn. Recent solo shows include David Castillo Gallery, Miami (2021) and Tong Art Advisory, New York (2021), as well as group shows with Essex Flowers, New York (2020), and the Richard and Dolly Maass Gallery at Purchase (2019, 2020).
About Young Space
Young Space (est. 2014) is an independent, itinerant curatorial project and online platform organized by Kate Mothes, emphasizing new and exciting work by early-career and emerging artists. More at yngspc.com.
Please point inquiries to Kate Mothes at firstname.lastname@example.org.
Rush of Spring
Mark Joshua Epstein
Opening May 7, 2021 at 12pm EST, views.yngspc.com
On view on June 13, 2021
Young Space and STEAK are delighted to present Rush of Spring, a three-person exhibition by Rachel Dinwiddie (Little Chute, Wisconsin), Mark Joshua Epstein (Ann Arbor, Michigan), and Una Ursprung (Alsace region, France). Comprising a selection of paintings and works on paper, Rush of Spring features each artist’s distinctive approach to new beginnings and perspectives as the world emerges from a period of deep change and springtime arrives, bringing with it a redefined sense of renewal and regeneration.
In March of 2020, upon graduating from the School of the Art Institute of Chicago, Rachel Dinwiddie moved to a small Northeast Wisconsin town just as stay-at-home regulations came into effect. Without public events to attend or many businesses open as usual, the ability to connect to her new community was ultimately limited, with little opportunity to meet new people or explore much of the region. Dinwiddie developed a relatable coping mechanism during quarantine in the form of online shopping, especially for clothes, and could become fixated by an object and how it might exist in the world, yet acutely aware that by purchasing the object, the gleam of desire would be dulled by trying to possess it. Her richly hued oil paintings describe a fascination with objects and decoration, especially personal possessions and their relationship to identity. By incorporating these objects into paintings, the desire is reshaped into a fantasy, a vessel to contain it.
Mark Joshua Epstein also relocated home and studio to Ann Arbor, Michigan, from Brooklyn, New York, where a change in scenery—and more space—allowed for a bigger studio and an opportunity to experiment with scale and elaborate patterns in new ways. Throughout the past several months, he has reconnected to a vital focus on pure pattern as an expression of entering into a new environment and settling into its pace and local culture. Influenced by geometric abstraction, Op Art, and Pattern and Decoration Movement of the mid-1970s and early 1980s, Epstein’s exuberant patterns explore queer ornament and geometric excess in their hugged edges and dancing colors. The details are precise yet intimate, highlighting the intricacy of Epstein’s process of patternmaking that underscores the presence of the artist’s hand.
Flitting through foliage and flowers, or through meadows next to mountains, Una Ursprung chronicles her personal experiences and transitions from Taiwan, to France, and then to Switzerland, through landscapes and their natural inhabitants. Combining representational imagery of flowers and plants, as well as mountainous vistas and expanses of forest, Ursprung’s paintings playfully toy with abstraction through dreamy paint effects in pastel hues that could be stars in our eyes from looking into a bright sun, or the trails of bees or pollen dancing from blossom to blossom. A connection to the transformative cycles of nature continuously influences the artist’s relationship to the experience of land, place, natural revolutions.
Each of these three artists consider the possibilities that lie ahead in response to a time when we have all felt moored in place, and at one time or another, stuck, uncertain, or depleted. And yet, like a tree that loses its leaves in the winter, that energy is re-centered so that it can channel nutrients and life to new growth. The works in this exhibition share a sense of renewal in their practice, and like a rush of spring meltwater from months of heavy snow, they seek to embrace change and movement through this new work, to share a universal experience.
Please point inquiries to Kate Mothes at email@example.com or firstname.lastname@example.org.
About Rachel Dinwiddie
Rachel Dinwiddie (b. 1999, Monterey, California) is a 2020 graduate of the School of the Art Institute of Chicago with a Bachelor of Fine Arts in Studio. Recent exhibitions include the 2020 SAIC BFA Show, Sullivan Galleries, (Chicago, IL), the SAIC Burren Study Trip Exhibition, The Burren College of Art (Ballyvaughan, Ireland), Past Present, Present Past, Roger Brown Study Collection (Chicago, IL), and Traditional to Contemporary: A Figure and Portrait Exhibition at the Oak Park Art League (Chicago, IL).
About Mark Joshua Epstein
Mark Joshua Epstein (b. 1979, Washington, D.C.) received an MFA from the Slade School of Fine Arts, University College London, and a BFA from the School of the Museum of Fine Arts Boston. Epstein has had solo or two person shows at SPRING/BREAK Art Show (NY, NY), Handwerker Gallery, Ithaca College (Ithaca, NY), NARS Foundation Project Space (Brooklyn, NY), Caustic Coastal (Salford, England) Vane Gallery (Newcastle, England), Demo Project (Springfield, IL), Biquini Wax Gallery (Mexico City, Mexico), Breve (Mexico City, Mexico) and Brian Morris Gallery (New York, NY). Selected group shows include Des Moines Art Center (Des Moines, IA), Collar Works (Troy, NY), Good Children Gallery (New Orleans, LA), Monaco (St Louis, MO), DAAP Galleries at the University of Cincinnati (Cincinnati, OH), and Beverly’s (New York, NY). Epstein has been a resident at Vermont Studio Center, Millay Colony, Jentel Foundation, Macdowell Colony, and Saltonstall Foundation amongst others. His work has appeared in publications such as New American Paintings, Art Maze Magazine, and Dovetail Magazine. He is currently based in Ann Arbor, Michigan.
About Una Ursprung
Una Ursprung (b. 1985, Taipei, née Chang-Yu Hsu) graduated from the Taipei National University of the Arts in 2007, and Ecole Européenne Supérieure d’Art de Bretagne site Quimper in France in 2011 (from which she received Diplôme National Supérieur d’Expression Plastique, the highest honor awarded by the National Arts Councils and Culture Agencies). She has exhibited internationally, including solo exhibitions with Liang Gallery (Taipei, Taiwan), and duo or group shows at Studi0 (St. Moritz, Switzerland), Galerie Tracanelli (Grenoble, France), Saint Maison Gallery (Tokyo, Japan), and Hashimoto Contemporary (New York, NY). Her work has appeared in Vogue Hong Kong, ArtMaze Magazine, and Execute Magazine. She currently lives and works in the Alsace region of France, near Basel, Switzerland.
About Young Space and STEAK
Young Space (est. 2014) is an independent, itinerant curatorial project and online platform organized by Kate Mothes, emphasizing new and exciting work by early-career and emerging artists. Exhibitions about the US, UK, and Europe are organized in collaboration with artists, spaces, and other organizers.
Rush of Spring marks a new initiative called STEAK, a gallery developing from the existing framework of Young Space to present exhibitions both online and offline of compelling work by emerging artists worldwide. A series of exhibitions on Views throughout 2021 aims to introduce some of the artists and ideas that will shape this new project, which will launch formally in 2022. To register your interest in future STEAK projects or to inquire about available works, visit http://steak.gallery to sign up. Please point inquiries to Kate Mothes at email@example.com or firstname.lastname@example.org.
Opening June 25, 2021 at views.yngspc.com
On view through August 1, 2021
STEAK is delighted to present Colloquialisms, a three-person exhibition by Jinyong Park (London, UK), Moley Talhaoui (Stockholm, SE), and Natan Lawson (Baltimore, MD). Park, Talhaoui, and Lawson visualize messages and language by examining linguistic systems, wordplay, or digital reproduction of analog scripts. Colloquial language, as opposed to formal or literary usage, is described as communication used in a casual or familiar way. Studies of meaning, such as when a word is pronounced or spelled slightly differently, reveal hidden layers of interpretation. Addressing bilingual patterns and challenges, as well as the nature of language itself to shape-shift over time, and from place to place, they issue a call to the viewer to respond, and to plumb for new understandings. A selection of paintings and works on paper investigate the subtle patterns and mechanics of everyday language.
Each artist’s methods and processes are extraordinarily different, yet they share a common curiosity about the way that vocabulary and languages intersect, occasionally humorously, often abstractly. In an ever more globalized society that relies on technological connectivity for business and long-distance communication, and AI-powered applications like Google Translate or email auto-complete, global communication is not only possible but streamlined, and so easy that we can detach from our own usage by inviting machines to complete our sentences in digital communications. We have commenced a gradual process of neglect toward the subtle nuances of regional dialect and vernacular, contributing to the complete erasure of many less-spoken and endangered languages altogether--making everyday usage more globally uniform across the most dominant languages. These artists, instead, privilege nuance and distinctiveness over generalization and simplification.
Jinyong Park’s work examines the sociocultural context of language, linguistic experience, and the rules that dominate our writing systems. Tessellating shapes expose patterns of linguistic flow and obstacles, along with a measure of failure or confusion, as an ongoing discovery of bilingual identity, and the artist’s psychological and physical experiences and new familiarities of language are translated as a visual record in richly hued, subtly textured paintings.
Stockholm-based artist Moley Talhaoui taught himself English at a young age, and his curiosity about the dynamics of language continue to influence the images, relationships between image and text, and titles of his works. His drawings capture personal associations of pop culture, and motifs of his Amazigh (Berber) heritage into eclectic, playful, and occasionally foreboding drawings on paper, often with mysterious hybridized Swedish-English phrases or bilingual mashups that provoke deeper, more intentional study of meaning, whether implied or obvious, esoteric or universal.
In Natan Lawson’s practice, definitions become a central focus of a variety of mediums applied to paper and canvas using a digital-mechanical process. The composition originates on screen, utilizing scans of antique textiles, posters, or sticker sheets which can be cropped and manipulated in an infinite combination of colors, sizes, and layers. Lawson utilizes a computer-controlled plotter originally designed to cut vinyl, which has been modified to produce marks with a variety of implements. Influenced recently by domestic crafts and household textiles like cross stitch or embroidery, these works take the classic Victorian era sampler as a starting point, in a study of the alphabetic form, legibility, and an exploration of the relationship between the handmade and the manufactured object.
Like spoken language, the art object is a means of communication. What does the artist wish to share with us, and through what shared language do we perceive or understand? Over 7,000 languages are spoken around the world today, yet almost 3,000 of those are considered endangered, and it is projected that if language decline continues at its current rate, about 90% of languages will be extinct within the next 100 years. What knowledge does a language contain, and what is lost when it is no longer spoken?
Please point inquiries to Kate Mothes at email@example.com.
About Jinyong Park
Jinyong Park is a South Korean artist based in London. Since she graduated from the Royal College of Art in 2015 with an MA in Painting, she has participated in various projects and publications. Recent exhibitions include AORA Exhibition III with AORA online in 2021; the 2019 and 2020 ING Discerning Eye exhibitions; Ghosts That Live Amongst Us with Warbling Collective in 2020; and Salad Days with Young Space online in 2019. Selected awards and honors include winning the 2019 A.P. Fitzpatrick Materials Prize and the 2019 Hopper Prize, in addition to being shortlisted for the 2018 Young Contemporary Talent Purchase Prize and the 2017 Griffin Art Prize. Recent publications include AVE Magazine, DATEAGLE ART, and Hopper Prize Journal.
About Moley Talhaoui
Moley Talhaoui lives and works in Stockholm, Sweden. He is a self-taught painter, whose recent exhibitions include group shows Antisocial Isolation at Saatchi Gallery in 2021 in collaboration with Delphian Gallery, a three-person show, Humoral Theory at Beers London in 2020, and No Native Narrative, a solo online exhibition with Young Space in 2020. Selected publication features include Kinfolk Magazine, Absolut Art, ArtBrowsers, This Orient Magazine, Dazed, and KALTBLUT Magazine.
About Natan Lawson
After receiving a BFA in Painting, from RISD, Lawson returned to his home city of Baltimore to live and work. He has had recent exhibitions at Seasons in Los Angeles and RESORT in Baltimore. His work has been featured in KADIST. He is also the driving force behind Baltimore-based initiative Bike Powered Events, which designs and builds bicycle-powered activities that engage audiences in fun, creative, and empowering ways.
STEAK is a new exhibition program developing from the existing framework of Young Space (yngspc.com) to present exhibitions both online and offline of compelling work by emerging artists worldwide. A series of exhibitions on Views throughout 2021 aims to introduce some of the artists and ideas that will shape this new project. To register your interest in future STEAK projects, visit http://steak.gallery to sign up for occasional emails. To inquire about available works, contact Kate Mothes at firstname.lastname@example.org.
 The 100 Most Spoken Languages Around the World. https://www.visualcapitalist.com/100-most-spoken-languages
 “Languages on the Edge of Extinction,” The Language Conservancy, languageconservancy.org