MUSCLE
Jun
20
to Jul 18

MUSCLE

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Closing Reception: July 18

The Ely Center of Contemporary Art is proud to present MUSCLE, curated by JLS Gangwisch.

To celebrate Pride 2025 the Ely Center for Contemporary Arts and the New Haven Pride Center partner to launch MUSCLE, an intermedia exhibition of artworks by local and regional artists featuring the vitality of the LGBTQIA+ community.  

These works articulate social power.  They are evidence of both personal and collective gains made through determination, will, and grit.  They remind us of voluminous resistance to adversity alongside the constant, quiet, domestic assertion of an authentic life.  They illustrate the transmutability of our bodies and our bodies politic.  They demonstrate lives lived openly, freely, and truthfully.  They are tinged with past violences and future threats.  They demonstrate the diversity of our community while speaking to our solidarity, our shared vision, and our united desires.  They invite us to play with each other, to work together. 

2025 is a year that demands muscle. This moment calls us to exercise our authenticity, flex our coordinated joy, and balance the tension of being too seen with the bravery of allowing ourselves to be seen. Pride celebrations were born out of resistance; through resistance we build and exhibit  MUSCLE, our powerful creative strength.
-JLS Gangwisch

Featuring the work of Joseph Annino, Kelsey Archbold, Finley Doyle, Ana Maria Farina, Diego Horisberger, David Kuehler, Kayce Lewandowski, Caroline McAuliffe, Michael Morgan, Cate Solari, Matthew Towers and Yves François Wilson

MUSCLE is an in person exhibition celebrating Pride located at the New Haven Pride Center, 50 Orange Street, New Haven. MUSCLE has a soft opening this Friday, June 20, and a closing reception July 18th! The Pride Center’s hours are Mon-Fri 10am-5pm.

FLEX:// is the sister exhibition of MUSCLE and is the first exhibition in a relaunch of Digital Grace, the Ely Center’s online exhibition space, now with an instagram account that will feature interviews with the artists! The interviews will be released throughout the run of the exhibition. Follow the new Instagram account HERE.



Joseph Annino These works explore personal feelings of grappling with knowing myself and feelings of isolation or concealment. Both works are inspired by music, “Nessun Dorma” by the aria of the same name from the opera Turandot by Puccini, and “Ghosts and Goblins Walk in This Land” by the song “22nd Century” written by Exuma and performed by Nina Simone. These are songs about what is secret and what is revealed, morphing identities, and the danger and hope the future holds. Both works are self portraits, nude in wanting to be my true self, yet obscured, as that always comes at the risk of how others might react.

Kelsey Archbold My oil paintings explores the way society presses a duality upon femininity that mischaracterizes the femme experience as a way of control, and how women can push back against this. Through visual narrative and symbolic imagery, I explore how women confront and resist these limiting constructs. The Visitor shows a solitary woman in her home accompanied by her orange cats. She is nude, but it is unclear if it is for her own pleasure or the viewers. Shown outside, camouflaged, lurks a tiger. Has the woman seen the tiger? Is she aware of its presence? The tiger could be a threat, but perhaps instead it is aspirational. Cats are considered semi-domesticated, they never severed the tie between them and their wild cousins. In What You Think of Me, I address the tendency to project assumptions onto women based solely on their presence. The figure appears neutral, almost passive, yet her exposed breast and the brooding clouds behind her evoke conflicting narratives: is she sexual, maternal, melancholic, defiant? When a woman refuses to perform emotional labor for the comfort of others, she is often met with disdain. The painting asks: how exhausting must it be to avoid even a "resting bitch face"? My paintings follow the tradition of portraiture and surrealism, often combining degrees of representation, from realism to flat cartoons to simple line drawings, all in one painting. As this body of work evolves, the women within it increasingly defy the reductive narratives projected onto them, stepping beyond the binary expectations that attempt to define them.

Finley Doyle The radiator is part of a hidden system. It’s the capillaries of the building. It maintains the distinction between the inside and outside worlds. It does this too well, and then we open the window. We let the outside in and the inside out. Now we can smell the garbage and hear the neighbors screaming. It is intentionally inefficient. It loses heat. It forces our hand. I’m interested in the seemingly uninteresting object. I’m interested in the surface and the exciting moments in the paint itself. I like to create work around a domestic object that doesn’t hint at a narrative. I paint my partner and the space we share. I paint the radiator, the bed, the kitchen counter. My duty to the subject and the surface are similar: to neither show nor obscure too much, to revel in the wetness and bodily pleasure of paint while paying attention to the real.

Ana Maria Farina A loop of yarn makes a dot, the start of everything. I instinctively choose colors and gestures that along with intricate, sculpted surfaces evolve into imagery. Using a tufting gun along with needles and hooks, I conjure vibrant objects of comfort in wool that inhabit a mystical pictorial space between abstraction and representation, where painting, sculpture, and textile meet. I am attracted by the creature-like, mythological parts of being human and the untamed primordial wilderness we are taught to suppress. Each piece is a tactile exploration of the hidden, the intangible, and the mythic, inviting viewers to connect with both the familiar and the mysterious. Agnès Varda said that if we opened people up, we’d find landscapes, and I’m fascinated by the idea of what these landscapes look like. Growing up, my father always said that in order to turn a house into a home, you need to have rugs. Working in fibers allows me to bring this sense of comfort and honor my ancestry of Brazilian craftswomen while I work on themes of psychoanalysis and our internal battles of constraintment, repression, and release. Through texture, form, and color, I bring forth a world that is at once comforting and unfamiliar, where the lines between the physical and psychological are softly blurred.

Diego Horisberger Diego Horisberger is a mixed-media artist focused on personal experience in relation to questions of identities and communities that they have affinities for and inhabit. Through print, paint and photographs, Diego embraces the tensioned state of queerness as it relates to a resistance of categorization. This practice also allows them to process their surroundings, and helps them arrive at a way of self-knowing.

David Kuehler I draw upon my experiences in stage and film to explore themes of social status, remembrance and materiality. My works are suffused in my memory influenced, also, by artifice and nostalgia. They are often narrative and sometimes emotional, inarticulate responses. Safflower oil, water and varnishes, combined with thinned oil paint disrupt character forms and create unexpected color dialogues. The buildup of large shapes and patterns makes way for unexpected relationships between color, line, and textures. Rather than asking viewers to suspend disbelief, I invite them to see the world as it truly is—layered and constructed. I am currently investigating gender disposition posited as truth in 20th century American cinema. Iconic characters, especially in Western movies, often present the masculine ideal through functions of dominance—intentionally suppressing traits, such as vulnerability, empathy and intimacy. Using mid-century film production stills as inspiration, I am painting into "the illusion of cinema" as part of a personal journey to unearth, and reimagine, myths of masculinity. The idea for the painting "Elegy" emerged while I was researching how director John Ford shaped John Wayne into an icon of American masculinity. I came across a production still from the film, "The Searchers" showing a crew member carrying Wayne’s stuffed horse onto set, while Wayne gazes stoically into the sunset. This image prompted me to ask: How might I disrupt the status of these figures and reimagine a new narrative?

Kayce Lewandowski My current body of work presents ideas that aren’t always spoken about based on my own personal experiences. My work reveals a great amount of my identity, some I’m proud of and some not so much, but neither are matters I talk about regularly. The ideas I’ve expressed through my work share the common theme of hiding. I’ve hid my eating disorder and my sexuality from others in the past, sometimes intentionally but often instinctually. Dealing with anorexia and anxiety brings a lot of shame and insecurity which caused me to keep it to myself, however all the physical signs became very obvious. For me, it felt like I had lost control over myself. My works accentuate these physicalities to an extreme level to depict how I and others may have felt physically and mentally through this challenge. Besides portraying anorexia, my work also interacts with the insecurities of my own sexuality as a lesbian. I have grown to own and love this piece of my identity rather than hide it, however the reason I hid it for so long constitutes reflection not only on a personal level, but on a societal level. Our nation has come so far in accepting LGBTQ+ individuals, but it's clear that the fight for respect and rights as a minority needs to be spoken out about more than ever. I believe it is important to educate and inform, and I am willing to incorporate my vulnerability in my work because my art feels like an extension of myself and a message to those around. My process is cathartic by helping me make sense of my reality, which is unavoidable in visual, tangible form. One may think that painting about the negative aspects of one’s life would be painful, but I feel it helps me communicate these issues with others in an impactful way. This is especially important to me when others who relate feel they are being seen, or when I can share my perspective with those who don’t initially empathize with my concepts.

Caroline McAuliffe My work is a performance of identities, and in this current era, many former selves are now in the shadows of this bigger identity that has muscled in—mother. Mothering has pushed me to expose more of myself: the insecurities, the monotony, the duality of living and making art from home with my wife and child, and even the toys that surround us have become the subject matter of recent photos and sculptures. Objects of Play is based on how I engage with the “stuffness” of toddlerhood. It feels pressing to speak honestly and not tie a pretty bow on it. Caregiving is demanding, neverending work. The physical and emotional demands of parenting a toddler have turned our world into the subject of my art. I am exploring the body, our lived spaces and the objects of my toddler’s obsessions that fill our home. I am consumed by labor, by stuff and left to grapple with matrescence through humor and art.

Michael Morgan Lightning should obey physics: the tallest metal object wins. Yet in this canvas the bolt veers past a metal sword high in the sky and strikes a lone dog-walker instead. One of the dogs drops theatrically in a “play-dead” flop; the other turns to flee, muzzle twisted with concern. Better to Have More Lightning in the Hand is the second panel in an ongoing triptych that includes Red at Morning. In that first work, a bronze figure stands on a plinth carved “CDIV.” These roman numerals equate to 404, a jest that the monument is dedicated to nothingness. The series is less about what monuments depict than about the raw power claimed simply by erecting them. In Better to Have More Lightning in the Hand that power returns, inflated: a heavy-set and nude sculpture with a gaudy crown rests on a rust-patched oil-drum horse. Below, an altar with a Latin plaque reads Dulce et decorum est pro patria mori (“It is sweet and just to die for one’s country”). This collage of imperial symbols on junk metal suggests civic memory can be welded from spectacle, not truth by bad-faith actors. A wrought-iron gate topped with dragon finials separates viewers from the park. The dragons glare outward, policing who belongs, while a golden-retriever head faces inward, welcoming those already within. The gate casts the audience as outsiders, conjuring that familiar queer feeling of being present, yet uninvited. The lightning bolt carries two charges. Politically, it shows the expendability of “followers” who absorb real harm while authoritarian leaders remain unscathed. Personally, it distills my phobia of lightning and the abrupt trauma of losing my father. The fallen fence pickets at the canvas edge hint at theater props, underscoring that what we call history is often fabricated theater. I want the image to vibrate between seduction and alarm.

Cate Solari My work is rooted in the spirit of play, drawing from my childhood spent exploring the woods. These early experiences inform my ongoing interactive series, Collaborative Play, which invites viewers to reconnect with their inner child through curiosity and playfulness. Trolleys is a replica of a classic American summer camp team-building activity. Two participants must step onto the wooden slats, hold onto the ropes, and coordinate their movements to walk together. An act that requires physical balance, trust, and communication. Intended for adult participants, Trolleys reopens a space typically reserved for children, asking grown viewers to collaborate, stumble, and play in public. In doing so, I want Trolleys to challenge cultural expectations around performance, control, and self-containment. There must be a willingness to engage, to move in tandem, and to embrace the awkward joy of a shared experience.

Matthew Towers Traditions, routines and secular rituals inspire the objects I make. I have always felt that the vessel form is the most perfect object, and is most often used in these civilized practices. I love to manipulate my forms and control the clay in a way that defies gravity and the “norm” or status quo. I try to conjure mystery and magic in order to make my dreamy fantasies a 3D reality. Like many potters, I work in series making repetitions of forms. This helps me organize my obsessions with shapes, movement, ideas and the various notions on the meaning of function. I idolize classic vessel forms that have helped to define civilization and have been rehashed in many cultures. In my current body of work, I place the forms on exaggerated feet that are inspired by stilettos and platform heels to bring in an element of camp, and to uplift the volume in order to celebrate the bizarre history of humanity and its precarious present. I glaze these pieces with colors that reference classic Red and Black Greek pots with gold luster accents that satiate my desire for ornamentation, beauty and artifice. I substitute the sensual figurative illustrations that were used on many of those ancient pots with forms that mimic rippling flesh. This makes them too eccentric to comfortably utilize as utilitarian pots, and instead transforms them into a different type of vessel.

Yves François Wilson If We Leave Now is a silent, multi-channel video installation composed of slow-motion portraits filmed in public spaces. Each frame invites a kind of pause a soft interruption of time where the viewer can fully encounter the presence of another person. These moments are quiet but intentional, asking us to consider what it means to be seen without being explained. The work was filmed in Bridgeport and New Haven, cities shaped by migration, labor, and erasure. It draws on shared visual language the glance, the stillness, the breath between movements as a way of holding space for collective memory. I think of it as a non-material architecture, a place made of light and duration, where stories and ways of knowing can be felt even if they’re not spoken aloud. This piece is part of an ongoing effort to create spaces for recognition.

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EVOLUTION: Wábi Arts Focus Fellowship Teen Photography Exhibition
Jun
26
to Jul 6

EVOLUTION: Wábi Arts Focus Fellowship Teen Photography Exhibition

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Opening Reception: June 26, 5-7pm
Artist Talk: June 29, 12:30pm


Evolution is a photographic exploration of transformation—both internal and external—told through the lens of young photographers. The exhibition moves through themes of light and shadow, memory and loss, presence and absence. It weaves together intimate portraits, architectural studies, and conceptual works that ask what it means to grow, to question, to remember, and to become.

Within these images, we witness tenderness and truth: portraits of strangers and family members captured with a gaze of love; images of New Haven’s parks and buildings rendered with reverence and curiosity; blurred photographs that speak to the fragility of memory and what cannot be fully held onto. Family archives emerge as sites of both joy and pain, and self-portraits serve as tools of self-invention—where alter egos become a means to move from doubt into self-assurance.

These works were created by Wábi Arts FOCUS Fellowship Program under the mentorship of photographer and educator Kim Weston. Over the course of the program, students studied the work of contemporary artists such as Priya Kambli, LaToya Ruby Frazier, Dawoud Bey, Alec Soth, Leslie Hewitt, and Bill Jacobson.


Featured Artist: 

Mason Booker
Nicholas Clement
Jaylin Ambrose Cooper
Bethany Edwards
Alexandriana S. A. Fuentes    
Tywain Harris 
Snigtha Mohanraj
Abril Rosario 
Nickolas E. Santaella
Wes Weston
Brayden Zawadowski 

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Anatar Gagné: Widow Bunny
Jun
29
to Aug 10

Anatar Gagné: Widow Bunny

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Opening Reception: June 29, 1-3pm

The Ely Center of Contemporary Art is pleased to present “Widow Bunny”, a solo exhibition in our Flat File gallery. “Widow Bunny” is a heartfelt documentation of puppeteer Anatar Gagné’s grieving process after she unexpectedly lost her husband, Dave Gagné, last year.

“On August 15, 2024 my husband was killed in a motorcycle accident. My world was torn apart and life as I knew it ended. My late husband, Dave Gagné was known for his antics, among many other things. He had a pink bunny costume that he had been wearing for over 20 years for Halloween and sometimes he’d use it to crash a party or a wedding. I decided to wear the pink bunny costume while I eulogized him and “Widow Bunny” was born.”
-Anatar Gagné

Anatar M. Gagné/PINNED & SEWTURED Director, designer and puppet theatre artist is originally from Caracas, Venezuela. She holds a MFA in Puppet Arts from the University of Connecticut, and a BA in English/ Creative Writing from Hunter College. Her strong background in art, dance, writing, fiber and fabrication all come together seamlessly with her love for puppetry. She has trained at the National Puppetry Conference at the Eugene O'Neill Theater Center, designed puppets for The Dramatic Question Theater, Yale, Hartford Symphony, Boston Pops and Glass Half Full Theaters "Maebelle's Suitcase/La Maleta de Maebelle" where she was nominated for outstanding puppetry design by B. Iden Payne Awards in 2024. In 2023 she won 1st place in community impact at Nor'Easters 25th video Festival Alliance for Community media for the "Superhero Within." She has performed in slams all over the country, and has toured her full length show Calle Allende, a puppet theater production inspired by a journal entry in Frida Kahlo’s Diary. The show explores themes of pain, inspiration and infertility- all themes that became very personal in her own life. She is the proud recipient of a Jim Henson Workshop grant for “Sueños”. She is the founder and curator of The Pinned & Sewtured Puppet Cabaret and is proudly supported by the Puppet Slam Grant Foundation. Anatar was the Workshop Chair for the 2023 Puppeteers of America National Puppet Festival which had bilingual workshops for the first time and sits on the board of Puppeteer of America Board of Directors. Her newest project "Widow Bunny" explores grief through self portraits.

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BODY’S FIRST ARCHITECTURE
Jun
29
to Aug 10

BODY’S FIRST ARCHITECTURE

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Opening Reception: Sunday June 29, 1-3pm
Curatorial Walkthrough, Sunday, June 29, 2pm


The Ely Center for Contemporary Art is thrilled to present Body’s First Architecture, a group show curated by the artists Tamar Ettun and Leeza Meksin, exploring the various ways in which fabric and clothing are being employed by contemporary artists foregrounding the body's needs for healing. Through attending to the body and highlighting its needs, a larger possibility for healing our troubled world comes into view. The exhibition features works by Anindita Dutta, Ann Hamilton, Florencia Escudero, Hannah Woo, Leeza Meksin, LoVid, Michelle Segre, Molly Zuckerman-Hartung, Rachel Hayes, Rose Nestler, Sheila Pepe, Sheilah ReStack, Sopheak Sam, Suzanne Mcclelland & Alix Pearlstein, TAITAI xTina, Tamar Ettun, and Tsedaye Makonnen.

Body’s First Architecture brings together artists working in many media, including sculpture, installation, video, photography, textiles, painting, wearable art, and performance. The inherent nature of working with textiles includes weaving, sewing, joining, mending and repairing.

Working in this way now offers a surprisingly new (yet ancient) approach to engaging with our world’s problems. The work of mending textile and sewing pieces together, literally and figuratively creates connection and interconnectedness rather than tearing things apart.

Meanwhile, the softness and malleability of fabric stands in contrast to the rigid, unyielding geometry of our dwellings, helping us find a way to heal through touch, playfulness, color and the hand-made.

Body’s First Architecture considers the primary and fundamental nature of textiles as the body's first dwelling. Taking its premise from Ann Hamilton’s interview in which she says “Textiles are the body's first house, the body's first architecture."* This statement alludes both to textile’s relationship to the domestic as well as to the nomadic. There is something about the nature of textile that lends itself for travel — it can be packed small, transported relatively easily, made with modest resources while growing expansive and commanding space. For this exhibition,Ettun and Meksin, selected multiple large scale works, which fluidly interact with the unique and historical architecture of the Ely Center. Several of the works are site-specific or site-responsive, hanging in staircases, windows or visually joining the first and second floors.

Many ancient societies, including the Greek, Roman and Mesopotamian, focused on the metaphor of weaving (the essential structure of warp and weft), as symbols of bringing together opposing points of view during civil strife. Ritual garments, such as cloaks, veils and overcoats, were often made as offerings to divinites during war time and transitions of power, and physically placed on the statue of the divinity.* It comes as no surprise then, that during our currently polarized political and social climate, textiles have taken central stage in contemporary art. Body’s First Architecture explores the different approaches taken by artists to investigate the soft power and hopefulness that using fabric in art offers today.

The exhibition will be on view from June 29 through Sunday, August 10. Please join us for the opening on Sunday, June 29, 1-3pm. The artist/curators and many of the participating artists will be in attendance. At 2pm the curators will conduct an exhibition walkthrough, open to the public.

–Leeza Meksin

*Interview with Ann Hamilton and Krista Tippett in On Being,
https://onbeing.org/programs/ann-hamilton-making-and-the-spaces-we-share/

*The Craft of Zeus: Myths of Weaving and Fabric by Jasper Svenbro and John Scheid, Translated by Carol Volk, Harvard

University Press, 1996.

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Spring 2025 Keyhole Residency Culminating Exhibition
Jul
13
to Aug 10

Spring 2025 Keyhole Residency Culminating Exhibition

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Opening Reception: Sunday, July 13 from 1-3pm

Featuring the work of our three most recent artists in our Keyhole Residency:

Isaac Canady
Isaac Canady is a New Haven native. He studied dance and music in his younger years and was a social worker. He is a self taught artist who spent time drawing after his daughter was born. After numerous hardships, Isaac will start his first artist residency at ECOCA. His work is a reflection on the connections we find in life, knowing that all things are tired together.

Cynthia Celone
Cynthia Celone is a Connecticut-based oil painter whose work explores mythical creatures and atmospheric landscapes. A graduate of the Lyme Academy College of Fine Arts, she has exhibited widely and participated in multiple artist residencies. She looks forward to expanding her practice and engaging with fellow artists as a Keyhole Workspace Resident at the Ely Center of Contemporary Art.

Jean-Pierre Solis-Sánchez
Creating art is storytelling for me, and life is my muse. I chronicle my experiences, feelings, memories, struggles, and more by transforming them into visually appealing objects. It’s a kind of alchemy, where parts of my life are frozen in time to preserve them, allowing me to look back on them in the future, remember them in an artistic way, and understand them in a completely different light.”

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Michelle Young Lee
May
25
to Jun 22

Michelle Young Lee

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Opening Reception: May 25, 1-3pm

My artistic practice emerges from the intricate landscapes of diaspora, embodied memory, and collective healing. Rooted in the transformative moments of the 1992 LA Uprising and shaped by contemporary visual culture’s relationship to US history and politics, I create interdisciplinary works that challenge systemic representations and reveal hidden narratives for social transformation.

Found images, natural artifacts, neon signage, thrift store t-shirts, and beeswax serve as critical materials in my multimedia installations. In works like “Thank You; Have a Nice Day”, I explore the affective dimensions
of Asian American labor and cultural displacement. A digitally overlaid found photograph of a hollow deer bone—marked by coyote teeth—features iconic shopping bag text, with one line rendered in neon, emitting a bitter irony that highlights the visual aesthetics of Asian American immigrant owned small businesses. This piece was created in response to the violence that fell on the AAPI community during the pandemic and the murder of 6 Asian female spa workers in Atlanta in 2021. 

My recent encaustic-based work responds to the normalization of White Christian Nationalism, deconstructing thrifted “patriot” t-shirts mounted on artist panels and embalmed in the ancient medium of encaustic paint. Through assemblage and collage, these pieces present layered histories that expose the fragile notion of national identity.

Drawing from post-colonial theory and critical visual culture studies, my practice excavates collective memories across geopolitical borders. Working internationally—from Los Angeles to the Palestinian Territories—I’ve developed a fluid methodology that responds to complex social landscapes. Each project translates personal experience into broader narratives, converting pain into possibility.

I create works where personal and political memories breathe, where silence speaks, and transformation becomes possible.


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Current Aberrations
May
25
to Jun 22

Current Aberrations

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Opening Reception: May 25, 1-3pm

The Ely Center of Contemporary Art is pleased to announce Current Aberrations, a two person exhibition featuring the works of Fethi Meghelli and Fabiana Comas Risquez.

Current Aberrations presents works from Comas Risquez’s Guaricha series along with Meghelli’s sculptures and tapestries featuring the female form. Both artists work with the female figure in a distorted, overlapped but celebrated way.

Guaricha is a term of the Cumanagoto Caribbean ethnic group, used in Colombia, Ecuador, and Venezuela. Guaricha means woman, and over time this term has become the colloquial language to signify both prostitute and indomitable woman. In this series, the female body is exposed as an exhausted medium that carries the precariousness of being a woman. Comas Risquez draws high heels, pantyhose, and amorphous bodies, to represent and hold the various layers of meanings about the feminine's vulnerability, sensuality, and power.

Like other series of his, Meghelli’s ‘Tribute to Women’ tapestries show the multiple realities of a woman’s essence simultaneously, with multiple facial features symbolizing the many tasks and roles that a woman plays. The sculptures on display present a rough, primordial expression of the female form as mother and caregiver, evoking pre-colonial art.


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Kasey Ramirez: Wake
May
4
to Jun 22

Kasey Ramirez: Wake

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Opening Reception: May 4, 1-3pm

The Ely Center of Contemporary Art is proud to present Wake: Selected Works on Paper by Kasey Ramirez, a solo exhibition of Hartford, CT based artist, Kasey Ramirez in our Flat File Gallery.

Ramirez’s work “explores the tension between stability and impermanence by placing architectural structures in consuming environments. I experienced Superstorm Sandy firsthand, and in the wake of increasingly frequent severe storms, my personal sense of vulnerability connects with the impending tipping point of climate change. In my drawings and prints, buildings become a stand-in for humans, a metaphor for manmade efforts to create shelter that are ultimately vulnerable to environmental extremes.”
-Ramirez


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Ashton Phillips: Prey Drive
May
4
to Jun 22

Ashton Phillips: Prey Drive

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Opening Reception: May 4, 1-3pm
Artist Talk: June 18, 1pm

The Ely Center of Contemporary Art is proud to present Prey Drive, a solo exhibition of LA based artist, Ashton Phillips curated by SomethingProjects (Howard el-Yasin & Suzan Shutan.)

We are living in a capitalocene era where everyday objects are fetishized as an effect of mass production, things are made to become quickly disposed of. But once they become waste, do they cease to matter? As vibrant matter, mundane objects also participate in the histories of human and non-human ecology. Who writes our histories and scientific methods, and for whom, has always determined what gets erased (white washed) versus the (often pathologized) epistemologies we’re taught to remember. The anti-wokeness of our current social-political environment, is a reminder that history repeats itself, as does the cycle of life.

Tim Morton, argues the position of interconnectedness in the natural world as a scientific method: “Evolution means lifeforms are made of other lifeforms. Entities are mutually determining: they exist in relation to each other and derive from each other. Nothing exists independently, and nothing comes from nothing.” Queer Ecology, 275. And Prey Drive is an experiential site of queer ecology, a magical environment outside normative ways of seeing and being. While speculative, it proposes regenerative care as resistance to heteropatriarchy and the myth of the biblical greatness of the white cis-male, as well as anti-trans rhetoric and bigotry. Anti-trans legislation contributes to a long history of marginalizing queer and trans people, and such persecution is heightened in our era of post-truth.

Ashton Phillips uses a site-specific wall drawing with 527 ash marks to call attention to the hypocrisy of pseudo Christians, responding to the monumental deadly weight of trans legislation efforts to erase trans people; all of which seems tantamount to hunting prey!  Viewers of this installation are also beckoned towards an assemblage of mundane materiality, familiar and peculiar, where mealworms consume Styrofoam for sustenance. Ironically, this synthetic material plays an essential role in their natural cycle of transformation over time.  Yet this process of transness is in opposition to the unnatural social construction of gender for humans, which heteronormativity relies upon to normalize desire and maintain the cis-male/female binary. 

This antidisciplinary project navigates art, science, and performativity to illuminate the injustice inflicted on queer bodies. The uncertainty of red lights and uncanny sounds prompt somatic stimulation in this haptic, precarious, complex space of queer world-building.  From a nominalist position, the inherited gaze of normativity as universalized is flawed. 

Prey Drive explores the interconnectedness of humans, non-humans, and thing power. Jane Bennett’s theory is that all matter possesses intrinsic vitality, which can potentially influence events. As well as advocacy for trans visibility, inclusion, and change, Prey Drive reminds us that self-care is a survival instinct; and Phillips reminds us that “our bodies contain waste and toxicity of the past and present … Purity is impossible. We are all plastic now.” -Phillips


Ashton S. Phillips is a socially and ecologically-engaged artist, researcher, and writer working with dirt, water, pollution, plasticity, and interspecies agents of (dis)repair as primary materials and collaborators. He is particularly interested in the transness of matter, the impurity of bodies, and the possibility of imperfect repair through mutual contamination and touch. His practice prioritizes collaboration, experimental play, speculative (un)making, and embodied research over linear inquiry, hierarchical methods, or stable results.   

Ashton grew up in “Chemical Valley” West Virginia, sharing water, ground, and sky with legions of forever chemicals spewing out of nearby plastic plants and mountain-top coal mines. Today, he is a resident artist at Angels Gate Cultural Center in San Pedro, CA, where he maintains a living colony of polystyrene-metabolizing mealworm/beetles and a plastic-fertilized garden as trans ecological praxis. When he is not (un)making with, writing about, and caring for these shapeshifting creatures, he teaches about care, posthuman praxis, and creative action at Otis College of Art and Design, performs with the Pure Filth Society, and curates at Monte Vista Projects.

Ashton’s multisensory installations have been exhibited across the United States and abroad, including recent solo shows and public art commissions at Tiger Strikes Asteroid, Los Angeles; Automata Arts; Torrance Art Museum; Angels Gate Cultural Center; The Audubon Center at Debs Park; Maryland Institute College of Art; Cerritos College Art Gallery; and Glendale Central Park. He holds an MFA in Studio Art from the Maryland Institute College of Art; a JD from the George Washington University Law School. His creative and critical writing have been published by Trans Studies Quarterly, Antennae -  The Journal of Nature in Visual Culture, Contemporary Art Review Los Angeles, and Cambridge University Press.


SomethingProjects

It is a nomadic, transitory and provisional space providing short-term exhibitions that dually highlight artists as well as introducing communities to new viewpoints and practices by state, regional, national and international artists.

As an incubator for ideas, we encourage artists to step outside their boundaries and experiment with the intersection of materials, production, presentation and means of engagement with audience and space.

Our locations will change and offer site-specific opportunities. It may include elevators, storefronts, refrigerators, open closets as well as laundry mats, nurseries, supermarkets, and outdoor sites.

 Our Mission is:

  • To encourage artists to embrace and promote curiosity and precarity as action, to support and explore.

  • To enliven and challenge the communities at our landings.

  • To be the spark that ignites possibilities.

  • To dually highlight local artists as well as introducing communities to new viewpoints and practices by national and international artists.

  • To be an incubator for ideas, we encourage artists to step outside their boundaries and experiment with the intersection of materials, production, presentation and means of engagement with audience and space.


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Old in Art School
May
4
to Jun 22

Old in Art School

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Opening Reception: May 4, 1-4:30pm
Panel Discussion: Last Artist Standing, moderated by Sharon Louden May 4, 3:00–4:30 PM 

The Ely Center of Contemporary Art presents a Groundbreaking Exhibition Celebrating Artists Who Reimagined Their Creative Paths Later in Life 

The Ely Center of Contemporary Art is proud to present Old in Art School, a vibrant and thought-provoking exhibition inspired by the acclaimed memoir of the same name by historian and artist Nell Painter—who will also exhibit her own work in the show. 

Featuring twelve artists who pursued or redefined their artistic careers later in life, the exhibition challenges ageist assumptions and celebrates the enduring power of creative reinvention. Each of these artists attended art or graduate school between the ages of 40 and 79, bringing a wealth of life experience, persistence, and unique perspectives to their practices. The exhibition includes painting, sculpture, printmaking, and interdisciplinary works that expand the conversation around what it means to be an artist—and when an artistic journey can begin. 

Old in Art School invites viewers to reflect on themes of identity, transformation, and the audacious decision to follow creative passions at any stage of life. The exhibition is co-curated by Aimée Burg and  Deborah Hesse

Featured Artists: 

Colleen Coleman (MFA, The School of the Art Institute of Chicago, age 50s) – Coleman’s work deals with identity, reflecting personal, historical, environmental themes.

Howard el-Yasin (MFA, Maryland Institute College of Art, age 50s) – El-Yasin’s mixed media practice engages with abstraction, materiality, and layered historical narratives.

Sarah Heinemann ( MFA, Hunter College, age 47)- Known for her bold abstract paintings that explore the relationship between subjectivity and the external world. 

Amos Paul Kennedy Jr. (MFA, University of Wisconsin, age 47) – Known for his bold typographic letterpress prints, Kennedy centers Black culture and challenges social norms.

Mary Lesser (MFA, Lesley University School of Art at age 79) – Lesser’s work examines contemporary concerns such as global commerce and climate change through colorful, expressive paintings.

Susan Luss (MFA, School of Visual Arts, age 50) – Luss creates immersive installations that transform the viewer’s sensory and spatial experience.

Barbara Marks (MFA, Brooklyn College, age 50s) – A former graphic designer, Marks creates abstract paintings, textiles, and ceramics rooted in memory and color.

Barbara Owen (MFA, School of Visual Art, age 55)- Owen creates abstract painted objects propelled by the optical power of color. 

Nell Painter (MFA, Rhode Island School of Design, age 64) – A renowned historian and retired Princeton professor turned artist, Painter uses printmaking to explore race, identity, and history through dynamic combinations of text and image.

Gina Palacios (MFA, Rhode Island School of Design, age 40s) – Palacios’s paintings, shaped by her Mexican American heritage, explore themes of identity, migration, and place.

Carl Patow (MFA, Virginia Commonwealth University, age 60s) – Patow’s digital prints explore themes of aging, memory, and personal transformation.

Allison Pasquesi (MFA, School of the Art Institute of Chicago, age 62) – A multidisciplinary artist, Pasquesi explores material culture and the politics of clothing through sculpture and wearable forms.

Special Event: Last Artist Standing Book Launch & Panel Discussion

(release date of May 20, 2025, but available for pre-order now) 

To kick off the exhibition, the Ely Center will host the first stop of Sharon Louden’s national book tour for Last Artist Standing.  A passionate advocate for sustaining creative careers, Louden will moderate a panel discussion featuring  Colleen Coleman and Susan Luss,  from both the exhibition and the book, alongside emerging voices. The panel will explore the realities of maintaining an artistic practice over  time—highlighting perseverance, reinvention, and community. 


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Stone Screen
Mar
9
to Apr 20

Stone Screen

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Opening Reception: Sunday, March 9, 1-3pm

The Ely Center of Contemporary Art is pleased to present Stone Screen, a solo exhibition of Anita Maksimiuk in the Flat File gallery. 

Maksimiuk uses migration and urban elements to represent her experience as a first-generation American. Maksimiuk uses imagery that includes parts of the American Southwest, Eastern Europe and everything that make up the five boroughs of New York City, which she calls home. “When creating a body of work, I consider my role as a new American, keeper of multiple cultures and a maker working in highly physical processes that demand patience, time and both hands. The works displayed here combine the highly graphic, commercial history of screen print with the organic, somewhat elusive nature of the lithography stone.” Included on display is a screen used to create her prints, adding insight into their creation. 

Please join us for the opening reception on Sunday, March 9, 1-3 pm.


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Maidan & XX
Mar
9
to Apr 20

Maidan & XX

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Amartya De In Process: March 9 - April 13, 2025

Reception: April  13, 2:30-4:30pm
Artist Talk: April 13, 4:30pm, Elle Perez guides a discussion with Amartya De

The Ely Center of Contemporary Art is pleased to present Maidan & XX, a two part solo exhibition of photographer Amartya De

On March 9th, viewers are able to begin their investigation into the photographic installation in its starting point with only a handful of photos on view. Over the weeks leading up to April 13th, De will be printing negatives in the Ely Center Basement Darkroom that he spent the previous year creating as well as making archival digital prints. Viewers will get a glimpse into De’s process which has grown out of his years growing up in Kolkata and the time he has spent travelling across the United States. Highlighted in Maidan & XX is a juxtaposition of time and space so viewers have a longer spectral dimension that holds their time - forcing them to be in the moment and retrospective simultaneously.

The photographs in this exhibition were mostly taken in 2023 but the film was only processed in February of 2025. “This latency became an inevitable part of my practice over time as I learnt the capabilities of the medium and the underlying subject matter and its relationships with formal compositional strategies, capacity, and the theme of national identity, borders, friendships and alienation.”


Please join us for the reception on Sunday, April 13, 2:30-4:30pm, to see the completed installation followed by a discussion guided by photographer Elle Perez at 4:30pm.


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A Desire Path
Mar
9
to Apr 20

A Desire Path

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Opening Reception: Sunday, March 9, 1-3pm

The Ely Center of Contemporary Art is pleased to present A Desire Path, inspired by the unplanned trails that humans create despite extensive planning. This group exhibition features the works of Jessica Bottalico, Annie Ewaskio, Jessica Fallis and Sydney Kleinrock. Each artist navigates their practice similarly to such a structure, finding moments in natural settings to get to their destinations; planned or unplanned, cyclical or straight. Please join us for the opening reception on Sunday, March 9, 1-3 pm.

“Our planet holds knowledge in its physicality: the past, the present, and the future of a landscape hum in simultaneous presence. The landscape overwhelms our limited senses like a drug, placing a distorting lens between our awareness and reality. What I find, in the natural world, is a psychedelic density—a wealth of information seen and unseen.” -Ewaskio

“For much of my life, I viewed my own body as a similarly non-functional vessel. Then, just weeks after starting this series, I learned I was pregnant. My work evolved from two-dimensional drawings into sculptural forms, driven by an obsession with creating vessels that reflected my ever-changing body—and, more recently, my ever-expanding roles as a woman, wife, mother, educator, and artist.”-Bottalico

“As a native of New England, I was fascinated by the quality of color and light of the West Coast. To step into that [Muir Woods]  forest was to experience the sublime and a deep inner peace; these paintings became a way for me to revisit that feeling.” -Fallis

“I use the fragmented nature of the quilted material to queer time through non-linear storytelling, often drawing on stills from life, memory, and imagination. The sections, when viewed as a whole, simultaneously depict moments of growth and decay, chaos and calm—weaving together a picture that evokes our entangled influence on nature through the cyclical passage of time.” -Kleinrock

BRIAN SLATTERY: NEW HAVEN INDEPENDENT
Ten Years, Tin Musings | April 10, 2025


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Tin There, Done That
Mar
9
to Apr 20

Tin There, Done That

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Opening Reception: Sunday, March 9, 1-3pm

Workshops:
March 9, 11am-1pm -  Pop Rivet Aluminum Box Building: Madison Donnelly
March 16, 3pm - Tin Can Luminaries
March 23, 1-3pm - Printmaking and Assemblage with Alloys: Emily Weiskopf
March 30, Aluminum Casting: Elli Fotopoulou
April 13, 1-3pm - Necklace based on Anni Albers: Luke Atkins

The Ely Center of Contemporary Art is pleased to present Tin There, Done That, a group exhibition kicking off the celebration of ECOCA turning 10!

Tin/Aluminum, the traditional material for a 10th wedding anniversary, represents ECOCA’s marriage of fostering contemporary arts in New Haven and the charitable legacy of Grace T. Ely in her Elizabethan mansion.

Tin There, Done That features the work of: Adria Arch, Adam Brent, Tamara Dimitri, Madison Donnelly, Mary Dwyer, Terry Donsen Feder, Lesley Finn, Elli Fotopoulou, Deborah Greco, Shanti Grumbine, Nate Heiges, Tom Kutz, Maria Markham, Hillel O’Leary, Sok Song, Alixe Turner, Shane Ward, Christina Hunt Wood.

Please join us for the opening reception on Sunday, March 9, 1-3 pm. ECOCA will also be hosting a series of free workshops for others to learn more about working with aluminum. 

ECOCA’s 10th Anniversary Benefit Gala follows this exhibition on Saturday, April 26 with food, live and silent auctions (selections include works by Anni Albers, Josef Albers, Ken Grimes, Roberto Lugo, Mario Moore, Mark Mulroney, Clara Nartey, Kim Weston), a Steel Drum Band, aluminum origami demo Workshop with Sok Song, and a Photo-booth from Statement Sets with a rack of festive metallic wears.

RUBY SZEKERES:THE ARTS PAPER
With Tiles & Tin Can Luminaries, ECOCA Rings In a Decade | March 31, 2025

BRIAN SLATTERY: NEW HAVEN INDEPENDENT
Ten Years, Tin Musings | April 10, 2025


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NATURE IS FLAWED | Kristi Arnold
Jan
19
to Feb 23

NATURE IS FLAWED | Kristi Arnold

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Opening Reception: Sunday, January 26, 1-3pm*
Curated by John O’Donnell

Nature is Flawed, is a new series of work that continues the exploration of abstracted landscapes. Inspiration derives from dystopian science fiction films, television, and literature that deal with themes associated with disastrous consequences of human nature’s flawed sense of entitlement, resulting in catastrophic outcomes such as climate change. Through this work, I contemplate ways to document forms and species under threat of extinction while utilizing colors and scenes from sci-fi illustrations and art history.

Kristi Arnold received a BFA in painting from the University of Kansas and an MFA in painting and printmaking from the University of Connecticut. She earned a PhD in visual arts and theory from the University of Sydney, Sydney College of Art in Australia. Arnold is also a recipient of a Fulbright Fellowship in Krakow, Poland at the Jan Matejko Academy of Fine Arts. Her work has been exhibited widely throughout the United States and abroad including California, New York, New Jersey, and Illinois, and countries such as Belgium, Australia, Japan, South Korea, Bulgaria, Austria, and most recently a solo show at the International Center for Graphics Arts in Poland. In 2013, she was invited to create a site-specific project for the Central Business District in Brisbane, Australia by the Vibrant Laneways Program. She has also been the Artist-in-Residence at the Mokuhanga Innovation Laboratory at Lake Kawaguchi in Japan, Jentel Artist Residency Program in Banner, Wyoming, Frans Masereel Centrum in Belgium, ARTSPACE in Australia, the University of Georgia in Atlanta, the Lawrence Art Center in Kansas, and the Hashinger Hall Post-MFA Artist in Residence at the University of Kansas. Kristi Arnold is an Associate Professor of Art at Elizabethtown College in Pennsylvania.

*Opening Reception storm date: Feb 2, 1-3

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THROUGH A GLASS DARKLY | Peter Brown
Jan
19
to Feb 23

THROUGH A GLASS DARKLY | Peter Brown

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Opening Reception: Sunday, January 26, 1-3pm*
Curated by David Borawski

Peter Brown is an artist and professional architectural photographer. His large scale prints, which are comprised of digital photography, scenography and pin-hole technology are based on traumatic personal experiences and experimental technics. The images for this exhibition are new and push the boundaries of scale, color and imagery beyond previous iterations. The visual layers of these works invokes both mystery and yet comfort through recognizable elements. The more you look the more you see.

David Borawski is an independent curator and multi-media installation artist living and working in Hartford, Connecticut. He received his BFA from the Hartford Art School of the University of Hartford. As a curator, he has been responsible for many of the exhibitions at Real Art Ways in Hartford, presenting solo exhibitions of Howard el-Yasin, Jaanika Peerna, Felandus Thames and others. Group exhibitions for the Ely Center for Contemporary Art and the Institute Library galleries in New Haven have been mounted as well. He also initiated the Atom Space project in the Hartford area, mounting exhibitions in empty storefronts and one-off locations.

*Opening Reception storm date: Feb 2, 1-3

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SEEING RED | Krystyna Printup
Jan
19
to Feb 23

SEEING RED | Krystyna Printup

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Opening Reception: Sunday, January 26, 1-3pm*

Krystyna Printup

Presenting to the viewer as a collection of paintings referencing found photographs and historical documents of the 19th century, these works act as a snapshot of her Native America story. The images are both of fiction and non-fiction narratives depicting the people and spaces that have influenced her Indigenous experience. Whether landscape or portrait both act as page in her story displaying the constant need to re address or bring to life the sense of “emptiness” within her subject matter. The landscapes portrayed represent real Reservation Land, but they do not conform to the outsider's romanticized perception of what it should look like. There are no defining markers that explicitly indicate this as Indian Land; instead, the land depicted could be anywhere. The portraits, on the other hand, lack a sense of vitality, with the models holding vacant stares reminiscent of colonial photographs from the turn of the century, which served as inspiration. By injecting traces of Tuscarora traditional crafts like raised beadwork and regalia patterns, Printup re-imagines their context within her work to make the images personal. ​ The artworks capture the essence of Indigenous spaces and people in a vibrant and expressive manner, creating an inviting and celebratory atmosphere. They are intended to be visually appealing while leaving room for the viewer to interpret and continue the narrative without explicit explanations. This blurring of fact and fiction is a prominent feature in the Printup's work, reflecting the ongoing nature of Native American history.

Krystyna Printup (New York, 1983) is a Brooklyn based artist and educator whose work investigates her identity as an Indigenous woman and the issues surrounding ideal representations of the Native American community. A member of the New York Tuscarora Turtle Clan, Printup references her tribal history throughout her paintings, installations and design work referencing American Indian folk art, photography, and objects of everyday life which are then combined with her own family's history and traditions. Recent installations include The Tender Art Space, Concord, MA; Chashama Gala, New York, NY; and The Puffin Foundation, Teaneck, NJ. Printup has exhibited in group exhibitions at galleries including Southampton Arts Center, Southampton, NY; NYU Kimmel Window Gallery, New York, NY, and Assembly Room, New York, NY. Printup is the 2018 awardee of the Stony Brook "40 under 40" Award, Spark the arts, Hilton Tapestry Collection grantee and Fund for Teachers triple grantee. Printup received a BFA from Pratt Institute, Brooklyn, NY and a MLA from Stony Brook University, Stony Brook, NY.

*Opening Reception storm date: Feb 2, 1-3

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CONUCO | Perla Mabel
Jan
19
to Feb 23

CONUCO | Perla Mabel

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Opening Reception: Sunday, January 26, 1-3pm*
Artist Talk guided by Howard el-Yasin February 2, 2pm

Perla Mabel My practice is an ongoing dialogue between the sacred, the personal, and the political—an exploration of how memory, culture, and spirituality converge through material, color, and form. Drawing from my Afro-Caribbean heritage and queer identity, I aim to transcend the constraints of traditional portraiture by engaging with the rich, ritualistic practices of Santería, ancestral reverence, and folk traditions. Each piece I create is a prayer, a labor of love, and an offering to my ancestors and to those I hold dear. In my work, I honor the intersections of my identity, using materials like satin, beads, and found objects to transform each painting into a living altar. My process is deeply informed by ancestral guidance and divination, where color, composition, and scale are often shaped by the wisdom shared by elders. Like the ritualistic altar-building traditions in my culture, my art serves as a space for spiritual healing and reflection. I paint to give my ancestors their flowers while they can still smell them, and to preserve the essence of those I love, holding them in sacred reverence. For me, painting is an intimate act of connection, where the personal is folded into the cosmic. In works like Morir Soñando and Fuego Violeta, I channel the spiritual forces that shape my experience, drawing upon the sacred practices of my Indigenous and African roots to craft portraits that are at once deeply personal and universally resonant. In Ascension, I explore the painful and transformative nature of trauma, using symbolism and tactile elements to reflect the paradox of spiritual death and rebirth. These works do not simply depict subjects; they embody rituals of protection, prayer, and empowerment. The mythologies of my heritage, such as the figure of La Ciguapa, also weave their way into my work, reflecting my connection to folklore, storytelling, and the interdimensional nature of my existence. As I build these works, I envision my creations as living beings—spirits that transcend time and space, moving between worlds and claiming agency over their own narrative. In Ciguapa, I embody a warrior spirit, one that calls upon the strength inherent within me, while simultaneously acknowledging the forces of colonization that seek to erase my history. My practice is not just an exploration of identity; it is a sacred act of witnessing and honoring those who have come before me and those who walk alongside me. I paint as a form of resistance, not just against the erasure of my culture, but against the silencing of those who dare to exist in their embodied truth. Through my work, I invite the viewer into a space where the past, present, and future coexist—where tradition and transformation are one and the same. This work is a meditation on beauty, strength, survival, and the continuous act of becoming. My hands are my prayer; my art, my offering. Through this program, I look forward to engaging with new perspectives that will challenge and enrich my practice, fostering dialogue between tradition and transformation.

Perla Mabel (they/them) is an Afro-Caribbean interdisciplinary artist born in Boston, but grew up both there and in the Dominican Republic. Channeling themes of survival and recalling historical events and figures from their culture, their practice reclaims their Blackness by incorporating satin fabrics used in Santeria rituals. Along with beads, cowries, and various objects in their paintings and installations to incorporate generationally passed down ways of adornment. If you look for her, Santa Marta appears through snakes and hues of the water. Mabel cultivates safe spaces for their sitters and hosts free creative wellness workshops since 2019. They imbue portraiture with empowerment by documenting and caring for the narratives of light.

*Opening Reception storm date: Feb 2, 1-3

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Florenciendo en La Obscuridad
Jan
19
to Feb 23

Florenciendo en La Obscuridad

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Opening Reception: Sunday, January 26, 1-3pm*
Artist talk guided by Marissa Del Toro 2pm

Florenciendo en La Obscuridad is the culminating exhibition of our Fall ‘24 Keyhole Workspace Artists in Residence: Scott Azevedo, Miguel Mendoza & Odette Chavez-Mayo. Serendipity emerged throughout the residency, as the artists found unexpected moments of overlap in their work and life, especially through their shared heritage. Mendoza was born and raised in Mexico, only moving to the States in adulthood; Chavez-Mayo was born in Mexico and raised in Texas, and Azevedo is American-born and has been chipping away at the mysteries of his Mexican grandparents. Despite working in very different aesthetics, the three found connections in their stories and iconography. Florenciendo en La Obscuridad presents their search for family connections - new, old, and imagined.

*Opening Reception storm date: Feb 2, 1-3

BRIAN SLATTERY: NEW HAVEN INDEPENDENT
Artists Bloom in Darkness | February 7, 2025

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No Relief
Nov
10
to Jan 5

No Relief

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Opening Reception: Sunday, November 10, 1-3pm

Ronnie Rysz

These block prints are the precursor to a series of work made by Ronnie Rysz depicting foreclosed homes in New Haven, Connecticut, in the 2010s.

Volatile shifts in the housing market continue to disproportionately affect a shrinking middle class, the working class, younger generations, and other disadvantaged populations. This suite of prints questions the concept of owning property and who benefits from financial practices and protections in the United States.

In developing his work, the artist was inspired by security patterns found inside envelopes from bank and credit card statements, representations of American currency, stocks, bonds, barcodes, maps of Connecticut, and other financial ephemera. These aesthetic elements are carved into linoleum, which is a construction material sometimes used as flooring in residential and commercial real estate.

Through this combination, Ronnie creates eerily familiar associations to documents assuming monetary value and legal importance, while unraveling the perception of stability they too often depict.

Collaborators

To create these block prints, Ronnie worked with printmakers from Milestone Graphics, the oldest continuously operating printshop in Connecticut.

For more information about the work, visit ronnierysz.com/foreclosures.

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Count To Ten
Nov
10
to Jan 5

Count To Ten

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Count To Ten

November 10, 2024 - January 5, 2025
Opening Reception: Sunday, November 10, 1-3pm

Vincent Dion

Count To Ten is a solo exhibition of paintings from Dion’s series “The Disappearing Act.” This new text based series are based on medical color-blind studies, the psychology of color and eye charts. Provocative and contemplative phrases from sources of various repute refer to what I see disappearing both personally and globally. The phrases mimic and question the modern use of abbreviated characters, pixels, and digital technology based on fragments of color. 

“The catalyst for this work was both the onset of a vision problem and the Covid 19 lock down. I found myself without gainful employment, faced with the precarious and unthinkable occurrence of potentially losing my eyesight, while simultaneously granted unforeseen time in my studio. I created “My Serenity”, the first painting in Count to Ten, because I was struck with the quandary of had I been given too much serenity, or had it been completely taken away.”
-Vincent Dion

Brian Slattery: New Haven Independent
Artists Hold Up A Mirror | Dec 12, 2024

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Self Taught
Nov
10
to Jan 5

Self Taught

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Opening Reception: Sunday, November 10, 1-3pm

Bula
Serge D
Bill Healy
Karen Karen
Richard Knowles

Curated by Michael Shortell & Emily Weiskopf

“I’ve always thought that one of a gallery owner’s duties (and pleasures) is to build a collection of artwork by the artists he shows. In the early years, I felt I had to buy a piece from every show. After a while, I gave up the albatross and took up another. I decided I would buy all the work I could afford.” Over the years, I did buy out of a great many of my shows, and about half of my collection remains unframed.”- Michael Shortell

At the end of this past Spring I stopped by one of my old framers in Hartford, CT, Shortell Framing, owed and run by Michael Shortell. I had recently moved back to Connecticut and Shortell had framed my prints some 20 years back. I walked in and was immediately captured by Serge D’s portrait that gave me a familiar sense. Bula’s self-portrait in a bright yellow t-shirt hung high up on the wall. “Who made that I said immediately”. What I thought would be a quick stop turned into staying to listen to the MANY stories about the artists and their works. For example, all of Serge D’s paintings were originally dropped off at Manchester Community College to be painted over. When he met Karen Karen on the street one day she was only using colored pencil and Michael provided her with oil pastels which proved to be transformational to her visions. Bill Healy continues to be prolific in his collages and assemblages that engage in pop culture and his daily life. Lastly, when we visited Richard Knowles studio I was taken by the depth, sensitivity and rich details of his paintings being explored over the course of his life. Michael has been supporting - collecting artists for years, ran a gallery years ago and amassed an incredible collection of which some artists have never exhibited publicly. What was discovered between us was a mutual excitement, love, passion and commitment to supporting artists and their work first with no interest to their CV, or training, social media etc. We collaborated on this show to support ‘outsider’ artists, those who have been Self-Taught. These artists however, have never thought of themselves as outsiders.

We could have filled the gallery floor to ceiling. That might be the next show. - Emily Weiskopf

Michael Shortell collected the works from these artists over his many years framing artwork. Emily Weiskopf is the new Ambassador of ECOCA’s Curatorial Advisory Committee and former Keyhole Workspace Artist in Residence (Spring ‘24).

BRIAN SLATTERY: NEW HAVEN INDEPENDENT
Artists Take Free Reins | Nov 19, 2024

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Dude Portraits
Nov
10
to Jan 5

Dude Portraits

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Opening Reception: Sunday, November 10, 1-3pm

Leigh Busby

Leigh Busby is a New Haven based photographer. His series “Dude Portraits” is an exploration of mainly BIPOC men in and around New Haven’s streets. He offers an often uncaptured glimpse into these lives through his lens. 

“As far as why I choose to do DUDE PORTRAITS? I felt men are getting a bad, unfair image right now and there is not enough great portrayal, so I dove into a project by accident while doing street photography. I started seeing brothers in a new light, a positive light, a beautiful, masculine energetic force and I wanted to show the world what I captured through my camera lens. I pray you see what I see as well and leave here today with a positive view of men especially our black men.”

My name is Leigh Busby, I am a Trinidadian came to the United States at the tender age of 8 years young, where we grew up in Hackensack, New Jersey. Skip to today where I am a photographer living in New Haven, Connecticut  and I also do iPad and acrylic painting. My work has been seen across world and I am a published photographer having my work on and in many books; the latest having being Yale’s Actor’s text book cover. My work has also  been at several museums online and in person, winning awards. I teach digital painting at schools across Connecticut.

-Busby

Brian Slattery: New Haven Independent
Artists Hold Up A Mirror | Dec 12, 2024

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Be Longing
Nov
10
to Jan 5

Be Longing

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top: Shanti Grumbine, Floating Window 6
bottom: Frank De Leon Jones, Bridge

Opening Reception: Sunday, November 10, 1-3pm

Shanti Grumbine
Frank De Leon Jones

Those who live in glass houses (goes the saying) should not throw stones. But we surround ourselves daily with glass: buildings and touchscreens, windshields, and lenses. The modern condition is to invent more and more profound insides and then try to name the ache for the outsides we created by default. A global pandemic underscored this pain, the world without forbidden by the noble desire to protect what we love. Cameras and windows–Plato’s shadows of the outside–became a way through if not truly out. 

Portraits of this yearning are captured in Be Longing, a collection of ink drawings by Shanti Grumbine and photographs by Frank De León Jones. These pieces glimpse through a glass–darkly, sometimes, but also playfully, slyly, hopefully. The lenses the artists peer through divide inside from out, but bring an interstitial voice of their own, distorting and retelling what is meant to be seen. 

Grumbine’s gel pen drawings leap from personal still photos of world cities as windowscapes. Her work plays with the long formal history of windows in art, from Renaissance to Symbolism to Minimalism. Orderly grids interrupt the pictorial space and gesture to what may lie beyond the frames. The pane–however perfectly transparent–is a reminder of the uncertain role of the viewer in the hierarchy of the image. Even matter is uncertain here, with Grumbine’s stippled lines evoking the vibration of particles, true stillness always past our reach (or is it a state of mind?) 

De León Jones opens the pages of a vacation photo album of an uncertain place, time, or photographer. Gauzy focus and extremes of light/exposure create an ambiguity echoed in the subjects at play on a beach. Posed or candid? Love or voyeurism? The viewer gets no easy answers as to whether the “voice” behind these photos is inside or outside the subjects’ awareness.


Be Longing juxtaposes these two artists to emphasize those common themes of imagery that are simultaneously true and uncertain. Lenses remind the audience not to trust the seen completely–even through the first two lenses of the eyes–but also that there is beauty in yearning for some things that may never be real.

Brian Slattery: New Haven Independent
Artists Hold Up A Mirror | Dec 12, 2024

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Reflection
Nov
10
to Jan 5

Reflection

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top: Remy Sosa, DosX3
bottom: Merik Goma, As I Wait (Untitled 7)

Opening Reception: Sunday, November 10, 1-3pm

Merik Goma
Remy Sosa

Curated by Moshopefoluwa Olagunju

Would you consider the bathroom a site of profound introspection? Drawing inspiration from Francis Bacon's emotionally charged paintings of bathrooms, sinks, and washbasins, this exhibition delves into themes of identity, existentialism, and emotional landscapes.

Reflection explores how bathrooms, traditionally spaces of physical necessity, also serve as metaphors for inner landscapes. The selected artworks transcend the mundane function of bathrooms to reveal the complex interplay between personal identity, emotional vulnerability, and the spaces we inhabit. Through mixed media, photography, and installation, the exhibition challenges viewers to reconsider the significance of everyday environments in shaping our inner lives, blurring inner thoughts and external realities.

The intent of showcasing works set in bathroom contexts differs from provocative pieces like Andres Serrano's 'Piss Christ' and Marcel Duchamp's 'Fountain,' which challenged creative expression with witty critique. Our exhibition aims to redefine these spaces as symbolic arenas of introspection and emotional landscapes. Through the introspective artworks of Merik Goma and Remy Sosa, we invite viewers to reconsider the bathroom as an extraordinary place of reflection, offering deeper insights into the human condition. This exploration encourages contemplation of the intersections between interior and exterior, personal and shared realms within the intimate confines of the bathroom, prompting us to recognize how these spaces reflect our physical selves and mirror our innermost thoughts and emotions.

Brian Slattery: New Haven Independent
Artists Hold Up A Mirror | Dec 12, 2024

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To The Touch
Nov
10
to Jan 5

To The Touch

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Opening Reception: Sunday, November 10, 1-3pm

Regan Avery
Marsha Borden
Melanie Carr
Grayson Cox
Leila Daw
JLS Gangwisch
Gregory P. Garvey
Beth Klingher
Yin Mei
Dana Prieto
Ben Quesnel
Cate Solari

Curated by Deborah Hesse

Immerse all your senses in an exhibition that brings together twelve artists who create high and low-tech interactive works that encourage participation, cooperation, and empathy. In this multisensory show, viewers are invited to engage directly and physically with the artwork in novel and surprising ways.

Listen to invasive insects, conjure memories around a musical tea table, discern a secret message, draw collaboratively, feel braille-like beaded rivers, configure touch screen sound patterns, inhabit a parallel world, smell a fragrant bouquet of earth, gun powder, and garlic, or rub a text drawing of affirmation. As a group, these works provide a fresh way to experience art that recalls the friendly, non-competitive, team-building spirit of the 1970s "New Games” movement while also incorporating subversive strategies to reflect on current global environmental, political, and cultural concerns. The show also aims to welcome and empower those with sensory and other challenges by offering new ways to experience art. To The Touch invites the viewer to be directly involved in the artist experience and helps us break down the barrier between observation and action.

BRIAN SLATTERY: NEW HAVEN INDEPENDENT
Artists Have the Touch | Nov 12, 2024

DAN MIMS: DAILY NUTMEG
Artistic Taste | Nov 22, 2024


To The Touch Information Audio

Click below to hear an audio recording with more information about the works in To The Touch and how to interact with them.













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Flatfile: Stump In Situ
Sep
1
to Oct 27

Flatfile: Stump In Situ

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Opening Reception: Sunday, September 8, 1-3pm

After the City’s Tree Warden ordered five magnificent Sycamore trees on Trumbull Street to be cut due to disease,  printmakers reclaimed the  remaining stumps with eco-friendly woodcuts and public art. With Logan Bishop, Nathan Lewis, Enrique Figured, Jesse Peck and Maria Posada.

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Forest Bathing
Sep
1
to Oct 27

Forest Bathing

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Featured Artists:
Austin Bryant
Lauren Cardenas
Adrian Martinez Chavez
Kim Kyne Cohen
Carolina Cuevas
Melissa Dadourian
Jen DeLuna
Sebastián Cole Galván
Alondra M. Garza
Donté K. Hayes
Kristen Heritage
Sunnie Liu
Jo Lobdell
Marie-Josè
Sebastián Meltz-Collazo
Robert Mirek
Julia Oldham
Vick Quezada
Jacoub Reyes
Samnang Riebe
Raphaela Riepl
Linda Sok
Loretta Violante
Aura Xuanyi Wang
Ying Ye
and an entrance by Nadine Nelson

Forest Bathing is a group exhibition curated by Alex Santana, using the Ely Center’s 2024 Open Call to find the included artists.

"Mirroring the expansiveness of the forest, much like underground mycelial networks and rhizomatic plant stems, as a practice, forest bathing otters us an entry point for interspecies communication, understanding, and reciprocity.”

—From Curator Alex Santana’s exhibition text, Fall 2024.

BRIAN SLATTERY: NEW HAVEN INDEPENDENT
Artist Tap Into the Roots | Sept 26, 2024

ELIJAH HUREWITZ RAVITCH: YALE DAILY NEWS
Ely Center of Contemporary Art showcases nature, memory and cultural identity in three new shows | Sept 12, 2024

PATRICIA GRANDJEAN: DAILY NUTMEG
Into the Woods | Sept 5, 2024

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How did we get here?
Jul
18
to Aug 10

How did we get here?

ECOCA @ Upstate Art Weekend
Opening Reception Friday, July 19, 5-7pm
Exhibition Dates: July 18 - August 10, 2025

80 Smith Ave, Kingston, NY @ ArtPort Kingston’s Midtown location

ECOCA is pleased to present “How did we get here?” an exhibition with artists whose work asks the viewer to look, then look again. Art builds a path between the personal and the universal: our collection spotlights the moments when that path can become a winding, narrative journey. “How did we get here?” is as important a question for the onlooker as “Where are we meant to go from here?” The work of art is a lens into the maker’s intentions, but the audience is already looking through many lenses at once: cultural, political, intersectional. It is in the second look–and beyond–that the viewer squints, considers angles, negotiates a way into the stories our featured works contain.



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Stump-In-Situ
Jun
23
to Aug 4

Stump-In-Situ

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Live 1-4pm, Opening Reception Sunday, June 23rd, 3-5pm

Artists:
Logan Bishop
Enrique Figuerado
Nathan Lewis
Jesse Peck
Maria Porada

On June 23rd, 5 artists will activate 5 stumps on Trumbull Street (sycamores that had to be cut due to disease) via a public printmaking event. Some of the prints created from this event, along with other works by the artists will be on display in the flat file. This is a merging of performance, printmaking and public art to activate an awareness of ecological issues happening here and now. Curated by John O'Donnell.

Activating the urban landscape by envisioning the potential of the stumps that remain from the felled local trees, ECOCA is inviting five artists to reclaim the remains of felled trees on Trumbull Street in New Haven.  Building on a long history of woodcut printmaking, these selected artists will use their skills as established printmakers to create art by carving into the existing stump to make an image.  The image is carved into the wood and can be printed like a huge stamp.  The process is eco-friendly and a great way to activate overlooked aspects of the relationship between trees and urban settings.  Traditionally, printmakers produce art in a print studio, which is a relatively private activity.  This project Is a way to help artists and audiences reconsider traditional approaches to printmaking, public art, and ecological issues affecting our community.  

Each artist will carve an image that can be printed by hand, using eco-friendly ink or a wax rubbing crayon.  The process will involve the artists working on the stump with traditional wood carving hand tools or more contemporary dremel tools. The artist will informally demonstrate their process and help community members understand printmaking reimagined in a new context.  The fun part will be people attending the opening will see the artists printing from the stumps.  In many ways, this is a merging of performance, printmaking, and public art to activate an awareness of ecological issues happening here and now. We invite you, the community members, to participate in this collaborative and interactive artistic process.

Stump 1 Nathan Lewis

Stump 2  Logan Bishop

Stump 3  Maria Porada

Stump 4   Jesse Peck

Stump 5 Enrique Figuerado

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Ramón Bonilla: Miradero
Jun
23
to Aug 4

Ramón Bonilla: Miradero

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Miranda, 2024, washi tape, vinyl, spray paint

Bonilla was one of five artists in the Spring ’24 cohort of the Keyhole Workspace Residency at ECOCA. The studio theme was ‘climate’.

Opening Reception Sunday, June 23rd, 3-5pm

Miradero is a Spanish word that translates to watchtower or lookout point.

In Bonilla’s artwork the concept of degrowth is used to propose a downshifting from a boundless economic expansion and unsustainable consumption to a post-consumerist future addressing current environmental and social issues. Resource depletion decelerates to achieve ecological flourishing, social equity and quality of life. Furthermore, Bonilla’s personal notions about the metaphysical encompassing beliefs about God, existence, the Cosmos, a non-material realm transcending our observable physical domain and the afterlife provide an additional dimension to the discourse of degrowth and sustainability in his work. These seemingly disparate ideas intersect in profound ways. Alternative futures of human progress prompt reflection of humanity's longing for harmony, purpose, and interconnectedness. Prosperity beyond material accumulation conveyed through principles of simplicity, frugality and conviviality. By pointing to the concept of the afterlife his work considers the transcendence of our actions, a purposeful life, our relation to the Cosmos and our legacy after exiting this world. His work comtemplates ways of thinking about responsible stewardship of the environment, the importance of ethical conduct and towards materialistic world views. It is a call to transcend notions of progress based solely on material wealth and shift towards an existence fulfilled by cultivating a profound sense of fellowship, gratitude, and respect for life. Using his imagination and resilience in the face of systemic barriers and harsh realities, Bonilla finds solace in an enduring hope for a brighter tomorrow, whether in this life or beyond. Through his artwork Bonilla aims to spark conversations about possible futures.

BRIAN SLATTERY: NEW HAVEN INDEPENDENT
Artists Embrace Change, Trasformation | July 23, 2024


Ramón Bonilla has a BFA from Escuela de Artes Plásticas de San Juan, Puerto Rico. He has been featured on 5280’s Home magazine as one of the “The Five Local Artists To Watch And Collect”. His work has been commissioned for The Gates Building; Nexus BSP in Denver; Stanley Marketplace in Aurora, CO; The Bonfils-Stanton Foundation in Denver and through Muros, Chicago. His work is also part of the art collections of Le Meridien Hotel Denver and The Four Seasons Hotel and Resort Beverly Hills. He has been represented by Michael Warren Contemporary and Simon Breitbard Fine Arts in San Francisco. Currently he has representation through Space Gallery Denver. He has shown with Direction/Instruction, an international art group organized by Hyland Mather, and showed his work at Paradigm Gallery in Philadelphia. He has also shown his work at Understudy Denver and 516 Arts in Albuquerque, NM. Bonilla is an alumni of Redline Denver where he completed a two year residence and is a recipient of the Inside Fund which is funded by the Andy Warhol Foundation.

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Línda Perla-Giron: Corn-munion
Jun
23
to Aug 4

Línda Perla-Giron: Corn-munion

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Corn-munion, installation by Línda Perla-Giron

Perla-Giron was one of five artists in the Spring ’24 cohort of the Keyhole Workspace Residency at ECOCA. The studio theme was ‘climate’.

Opening Reception Sunday, June 23rd, 3-5pm

Línda Perla-Giron’s installation Corn-munion is a work of three parts.

  1. At 4pm on Sunday, June 23, "Corn-munion” is a 30 min performance that invites audience members to enter a corny corn-struction of your not so typical typical communion. It’s giving drag. It’s giving Our Father Who Art Corn. It’s giving theater of a mythical self. It’s giving memories that all seem to slip into themselves and become a new history to be passed down instead of digging up what seemed to never be yours to begin with. It's giving a moment to settle into corn-munity care and breathe together — only happens on Sundays.

  2. A booklet — handmade with paper made of grass, wood block print, and typewriter ink.

  3. An installation archiving the making of “corn-munion” includes journal entries, recipes, drawings,  documentation of pre-performance prep and performance stills.

BRIAN SLATTERY: NEW HAVEN INDEPENDENT
Artists Embrace Change, Trasformation | July 23, 2024


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Esthea Kim: Reminiscent Reflection
Jun
23
to Aug 4

Esthea Kim: Reminiscent Reflection

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Reminiscent Reflection

Kim was one of five artists in the Spring ’24 cohort of the Keyhole Workspace Residency at ECOCA. The studio theme was ‘climate’.

Opening Reception Sunday, June 23rd, 3-5pm

Reminiscent Reflection is born in a small attic space. Dark and old, the room is shaped like a capital A underneath the bar in the middle, yet a window facing the street lets in plenty of light. Materials in hand, scraped and collected for intended use of another sculpture, remnants from a recent (de)installation, a noticeable color discrepancy on the wooden floor, and a sanctuary of angled ceiling covered in tearing-down wallpaper seem to be scarce of things to begin with. The air in the room must have been filthy with collected dust and things over time, but the light itself isn’t. A beam of light brings in all the contrasting freshness, springiness, and liveliness from the outside, penetrating right through the hard glass surface.

Some things let light go through, some reflect, some smear and absorb, and some may be a combination of those. Reminiscent Reflection may be a combination of all. Perhaps the clear paint drops hold the light a bit longer, as if taking time to dry into tiny round dots.

Observing the passing time and changing light through Reminiscent Reflection during the daylight sparks condensed memories of certain days, events, or emotions, all in a smoothly progressive yet swift motion. A change of a material state- from solid to liquid, cold to warm, young to old- can be documented simply as before and after, but the process in between is rather ambiguous for a clean definition, thus often referred to as a state of chaos or a journey to the unknown.

The change in state causes us to look forward to the future while also reflecting on the past. Reminiscing how things were is a process of having the solid history melt into nostalgic memory particles. Often with a contrasting present reality and a bit of regret, a song of wishes and hopes commemorating past beauty our nostalgia plays.

BRIAN SLATTERY: NEW HAVEN INDEPENDENT
Artists Embrace Change, Trasformation | July 23, 2024


Esthea Kim is an interdisciplinary artist integrating sculpture, installation and painting. Her works represent a captured notion from memories and express the sensed and theorized through fading and poetic imagery in a visually succinct way. Transposed from her perception, her painting transfers atmospheric vastness into repeated gestural brushstrokes and built up textures. While fleetingly capturing light in-between layers, these brushstrokes combine with hard-edged elements, condensing infinite views and the unseen into a single flattened composition. Esthea’s sculptural objects and installations are industrial yet organic. Focusing on the inherent qualities of materials, she expands the use of prefabricated and utilitarian items into more organic forms.


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Adrian Panaitisor: SDED
Jun
23
to Aug 4

Adrian Panaitisor: SDED

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Left to right: Frankia 1101, Spritsail Mahogany, 5 Ray Star

Panaisitor was one of five artists in the Spring ’24 cohort of the Keyhole Workspace Residency at ECOCA. The studio theme was ‘climate’.

Opening Reception Sunday, June 23rd, 3-5pm

“The new millennium invites the artist to keep up with its complex understanding of reality. The bridge between painting and sculpture (a philosophical dimension) can be achieved visually with the use of several flat surfaces, canvas strips, optical illusion, and real objects.” -Panaitisor

Panaitisor refers to his work as SDED, neither two-dimensional nor three-dimensional. His work created during the Keyhole Workspace Residency addresses points of scientific breakthroughs and discoveries while literally breaking through a painting’s surface. His reverence to optical illusions beckons the viewer for double and triple inspections for dissection; much as we need to see the world around us, though a critical lens.

BRIAN SLATTERY: NEW HAVEN INDEPENDENT
Artists Embrace Change, Trasformation | July 23, 2024

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