Untitled
Untitled
Damien Davis, Manuel Esnoz, Allison Zuckerman, Sydney Chastain-Chapman, Stan Narten, and Asad Faulwell
Damien Davis, Manuel Esnoz, Allison Zuckerman, Sydney Chastain-Chapman, Stan Narten, and Asad Faulwell
January 24 - February 23, 2019
January 24 - February 23, 2019
The Kravets Wehby Galleryis pleased to announce Untitled, a group exhibition including works by Sydney Chastain-Chapman, Damien Davis, Manuel Esnoz, Asad Faulwell, Stan Narten, and Allison Zuckerman, opening on Thursday, January 24 and running through February 23. There will be an opening reception on Thursday, January 24 from 6 – 8 pm.
Damien Davis’ meticulously cut plexiglass collages portray bold iconography which questions representations of race. Sydney Chastain-Chapman’s paintings call to mind the awkwardness of everyday life, whose subjects exist in a surreal world. Stan Narten’s hyperrealistic abstract paintings focus on interiors filled with art. Asad Faulwell’s obsessively detailed collage paintings reference Middle Eastern textiles. Manuel Esnoz’s shimmery surfaces and veiled abstractions invite the viewer to unearth hidden meanings. Allison Zuckerman’s practice combines digital imagery with art historical references, empowering her to reclaim the female figure.
The Kravets Wehby Galleryis pleased to announce Untitled, a group exhibition including works by Sydney Chastain-Chapman, Damien Davis, Manuel Esnoz, Asad Faulwell, Stan Narten, and Allison Zuckerman, opening on Thursday, January 24 and running through February 23. There will be an opening reception on Thursday, January 24 from 6 – 8 pm.
Damien Davis’ meticulously cut plexiglass collages portray bold iconography which questions representations of race. Sydney Chastain-Chapman’s paintings call to mind the awkwardness of everyday life, whose subjects exist in a surreal world. Stan Narten’s hyperrealistic abstract paintings focus on interiors filled with art. Asad Faulwell’s obsessively detailed collage paintings reference Middle Eastern textiles. Manuel Esnoz’s shimmery surfaces and veiled abstractions invite the viewer to unearth hidden meanings. Allison Zuckerman’s practice combines digital imagery with art historical references, empowering her to reclaim the female figure.
