REGISTERED / 2024

Michaela Bathrick

Ali Bonfils

Joseph Brock

Eleanor Conover

Donyel Ivy-Royal

Ryan Strochinsky

 July 12–August 24, 2024
A frontal view of a gallery hung with abstract paintings in varying sizes. In the middle of the room is a white table, on which are an array of colorful shaped paper drawings under glass. To their right on the wall are similar drawings hung in a straight line across the wall. On the rear wall are one large and one small abstract painting, and on the left wall are four more paintings of various sizes.

REGISTERED / 2024, installation view.

A slightly angled view of a gallery. On the left wall, from left to right, is a large abstract painting in streaky gold, muted purple and pink. To its right is a smaller painting of iridescent polka dots forming a wave-like crest. On the right wall is a line of seven irregularly-shaped drawings in oil pastel. Between the two walls, in the middle of the floor is a white table with a group of thirteen more irregularly-shaped oil pastel drawings presented under glass.

REGISTERED / 2024, installation view.

A slightly angled view of two walls meeting in a gallery. On the left wall hangs, from left to right, a large abstract painting followed by four smaller paintings. The large painting is in faded silver and green tones, forming a grid of rectangles overlaid with rainbow polka dots. Two of the “rectangles” are missing, leaving the wooden stretcher bars of the painting visible. On the right wall is a similarly sized painting with a warmer purplish pink palette, and another small painting, also with polka dots. On a table in front of both walls are an array of thirteen irregularly-shaped oil pastel drawings displayed under glass.

REGISTERED / 2024, installation view.

A frontal view of a freestanding wall in a gallery. On the wall is a line of seven irregularly-shaped drawings in oil pastel. In front of the wall is a white table with a group of thirteen more irregularly-shaped oil pastel drawings presented under glass. To the left of the wall and slightly further back are two small abstract paintings; one is square and the other is a vertically-oriented rectangle.

REGISTERED / 2024, installation view.

An overhead view of a white table, on which are arranged an array of 13 irregularly-shaped oil pastel drawings. The drawings are abstract, with some recognizable patterns like grids or the curled lines of a wrought-iron fence. They range in palette from murky yellow, to bright blue, to dark reds and dusty browns.

REGISTERED / 2024, installation view.

A view of two white walls in a gallery, with a third wall further behind them. On the left wall, which is depicted head-on, is a horizontal abstract painting of detailed geometric shapes and symbols in an array of greens and whites. On the right wall, which is visible at an angle, are two smaller abstract paintings in purple and brown tones. On the rear wall is a vertical abstract painting resembling a geyser in a range of blues, greens and white.

REGISTERED / 2024, installation view.

A view of a gallery at an angle. On the left wall, closest to the viewer, is a horizontal painting of mysterious charts, overlaid with paint in lines of purple, blue and green tones. Another wall is distantly visible through a brick archway, on which hangs a large abstract painting flanked on either side by much smaller paintings. The large painting depicts a yellowish-beige shape resembling a table against a dark rust-colored background.

REGISTERED / 2024, installation view.

A view of several walls in a gallery. The wall closest to the viewer is interrupted by a brick archway. To the left of the archway are two wall-mounted sculptures: on the right is a rectangular abstract work made of yellowed soap, and to the left is a smaller piece made of cement. Several walls are visible through the archway, on which hang four abstract paintings in a variety of pale tones.

REGISTERED / 2024, installation view.

A view of a variety of freestanding and wall-mounted sculptures installed in a gallery. On the left wall are three wall-mounted sculptures made of soap and cement. On a pedestal closer to the viewer is a cube made of soap with a corner of the cube missing. To the rear of the gallery, and further to the right, is a cement sculpture installed on the floor composed of two shapes each resembling the letter “E” placed back-to-back. On the wall to the right of this sculpture are two more wall mounted sculptures; the smaller work on the left is made of cement and the other, larger work to the right is made of soap.

REGISTERED / 2024, installation view.

A close-up view of a sculpture installed on the floor. The sculpture resembles the texture of cardboard but is cast in cement in the shape of a large letter “E” with a cement panel behind the shape of the E. On this cement backing are two number 5s, one in the upper half of the E and the other in the lower half. Both “5”s look like they are cut out of found paper and collaged to the sculpture.

REGISTERED / 2024, installation view.

A view of two walls in a gallery. On the rear wall are a series of five abstract paintings, all on irregularly shaped canvas. On the freestanding wall closer to the viewer are three wall-mounted sculptures. The sculpture in the center is rectangular and made of yellowed soap. It is flanked by a smaller cement sculpture in the shape of a box with a side missing on the left; to the right protrudes a small cement shelf on which rests two octahedrons made of soap. Between the two walls is a pedestal, on which rests a small sculpture of a soap cube.

REGISTERED / 2024, installation view.

An installation view of two walls meeting. On the left wall, viewed from the side, is a sculpture composed of ten wall-mounted cast cement circles. On the rear wall, viewed head-on, are four abstract paintings of varying sizes. All four paintings are on irregularly shaped canvases. They each have several lines running either horizontally or perpendicularly, echoing the shape of the stretcher bars. On a pedestal in front of this wall is a small sculpture of a soap cube with the upper left quadrant missing.

REGISTERED / 2024, installation view.

An angled view of two walls meeting. On the left wall is a sculpture composed of a line of ten wall-mounted cast cement circles. On the right wall are two abstract paintings. The painting on the left is smaller and shaped like a crest or shield. To the right is a larger painting, also on an irregularly shaped canvas that bows in like an hourglass. They each have several lines running either horizontally or perpendicularly, echoing the shape of the stretcher bars. On a pedestal in front of this wall is a small sculpture of a soap cube with the upper left quadrant missing.

REGISTERED / 2024, installation view.

A frontal view of a wall-mounted sculpture composed of a line of ten cast cement circles spaced at even intervals away from one another. The circles cast interwoven shadows on the wall below them, extending in multiple directions.

REGISTERED / 2024, installation view.

A frontal view of five abstract paintings of varying sizes and colors. All four paintings are on irregularly shaped canvases. They each have several lines running either horizontally or perpendicularly, echoing the shape of the stretcher bars.

REGISTERED / 2024, installation view.

A frontal view of three abstract paintings of varying shapes and colors. The leftmost painting is smaller, with rusty red and cobalt against a purple background. The two paintings to the right are slightly larger than the leftmost painting. The middle painting has a peach background, while the rightmost painting is predominantly blue which fades into red towards the bottom, with a crow-like black shape in the middle of the painting.

REGISTERED / 2024, installation view.

A frontal view of five paintings of various sizes (three are smaller, two larger.) The largest and most legible painting is hung second from the left and depicts a distorted table-like shape with abstracted lamps placed atop the table; the lamp’s bulbs are haloed in light and cords extend off of the table and to the edge of the frame.

REGISTERED / 2024, installation view.

Angled view of a gallery. A freestanding wall closest to the viewer holds three artworks: two small paintings flanking a three-part wall-mounted cement sculpture. To the left of this wall is a floor-mounted cement sculpture; to the right are three abstract paintings of varying sizes.

REGISTERED / 2024, installation view.

A frontal view of a freestanding wall holding three artworks. From left to right are: a small shield-shaped abstract painting, of which the uppermost portion is slightly sheer, revealing the stretcher bars behind the fabric; a three-part wall-mounted cement sculpture of three yellow “P”s in a vertical line; and, all the way to the right, a small bluish-gray painting of the backs of human figures under a latticed form.

REGISTERED / 2024, installation view.

A photograph of a painting hanging on the wall behind a gray desk. The painting is horizontally-oriented, an abstract work with two rows of three clock-like forms with distorted numbers and shapes, rendered in a dark rosy pink and gray with flecks of other colors filling in the “clocks.” The top of a desktop computer is also visible just peeking over the top of the desk, and a potted plant juts out of view of the edge of the frame.

REGISTERED / 2024, installation view.

An abstract painting on irregularly shaped stretcher bars, which bow in towards the middle like an hourglass. The painting depicts lines and squares in a multitude of colors against a muted teal background, almost recalling a cityscape. The uppermost third of the painting is slightly sheer, revealing the stretcher bars behind an expanse of splotchy teal.

Eleanor Conover, Home and Away, 2023. Dye, bleach, oil, acrylic and graphite on beveled and bowed pine, 70 × 35 × 5 in.

A side view of a sculpture composed of several parts. Two octahedral shapes rest atop a cornice cement shelf. The shapes are made of yellowed soap with the edges of cardboard supports visible where each plane meets the next edge.

Michaela Bathrick, Cornice 2, 2021. Soap, fiberglass, staples, cardboard and cement, 14 × 3 × 11 in.

A frontal view of an abstract horizontal painting. The bottom half of the painting shows distorted clock-like diagrams filled with small circles in green tones. Around these diagrams, and up to the top edge of the canvas, the images have been partly obscured by streaks of beige paint.

Ali Bonfils, Clocks 1, 2023. Tape, acrylic paint, house paint and marker on inkjet printed canvas, 24 × 30 in.

A frontal view of an abstract horizontal painting. The painting’s background is pink, and in the upper middle of the painting is a brown rectangle. Multicolored dots overlay the entire painting. Most of the dots on the right side of the painting are bright red, but they shift in color on the middle and left side of the painting. A bit of string hangs off of the back of the canvas.

Ryan Strochinsky, Eurydice, 2024. Oil on canvas, 10 × 11 in.

A frontal view of a vertically-oriented painting. The painting, in muted grays and blues, depicts the backs of human figures as if walking away from the viewer. All of the figures are positioned under a latticed structure, suggesting architecture.

Donyel Ivy-Royal, Untitled, 2023. Oil and graphite on canvas, 12 × 9 in.

A frontal view of an irregularly shaped painting on paper. The top and left sides of the painting are straight, while the right side curves in and then juts out again into a bulbous shape. The painting is teal at the top and then shifts to a murky maroon at the bottom, with white shapes painted atop the maroon.

Joseph Brock, Untitled (Cuts), 2022. Acrylic on paper, 12 1/2 × 7 1/4 in.

Press Release

“We peer with restless focus / at a drop of pond water or blood /
Something that can only be seen / in infinite slender sections.”
— Mei-mei Berssenbrugge, “March Wind”

White Columns is pleased to present REGISTERED / 2024, an exhibition organized by Brittany Adeline King and Violet Saxon, selected exclusively from the White Columns’ Curated Artist Registry. The Registry, which started in the 1980s as a physical slide library, is now an online platform of digital images documenting the work of some 500+ emerging artists across the world, all of whom are presently without commercial gallery representation in New York.

Focusing on shared sensibilities with an attention towards abstraction, variations in textural/material density and transparency, and slow, often recurrent processes of making, the works in REGISTERED / 2024 incarnate the act of noticing.

An indexical image is a direct record of the physical world that it depicts. The works in this exhibition are indelibly marked by the processes by which they were made. Whether in Michaela Bathrick’s concrete casts from cardboard, Ali Bonfils’ painted distortions of the charts, graphs and diagrams by which we make meaning, Joseph Brock’s idiosyncratic and vivid experimentational universe of color, form and tone, Eleanor Conover’s diaphanous, elegantly bowed canvasses, Donyel Ivy-Royal’s intimate paintings of quotidian life or Ryan Strochinsky’s polka-dot stamped works on torn and repaired wood-mounted rice paper, they wear grooves along the route from idea to object, taking their forms from the experience of coming into existence in the first place.

 

 

Michaela Bathrick is a NY-based artist from Berkeley, California. She received her BA from UCLA in 2015 and attended the Whitney Independent Study Program in 2019. Michaela started her MFA at Bard in 2022 and will exhibit her Thesis work the summer of 2024. She has participated in a number of group shows across the country since 2015 and had a solo show at Louis Reed Gallery in 2024.

Ali Bonfils (b. 1998) lives and works in New York, NY. She received a BFA from Pratt Institute in 2020. Recent two-person and group exhibitions include American Girl Diagnostics, Mery Gates, Brooklyn, NY (2023), Joan of Arc and her Unicorn, curated by Daisy Sheff, White Columns Online (2023), and Below a Grand, Below Grand Gallery, NY (2023).

Joseph Brock (b. Birmingham, AL) is a painter and composer based in New York City. He has recently exhibited at Analog Diary (Beacon, NY, 2024) and M. David & Co. (Brooklyn, 2024). He has performed recently at Sara’s (New York, 2023), Quibit (Brooklyn, 2022), and Canada Gallery (New York, 2023). He is a frequent collaborator with CultureHub (La MaMa and the Seoul Institute of the Arts), most notably as a Resident Artist (2020-2021). He has an upcoming solo presentation of paintings at Foreign & Domestic in the fall of 2024.

Eleanor Conover (born Hartford, CT 1989) earned an MFA from Tyler School of Art and Architecture, Temple University (2018) and an AB from Harvard College (2010). Recent past exhibitions include Abattoir, Cleveland, OH; List Gallery, Swarthmore College; Hudson House, Hudson, NY; and Bad Water, Knoxville, TN. She was the 2022 Donald J. Gordon visiting artist at Swarthmore College, and was the 2020-21 recipient of the Wellesley College Alice C. Cole ’42 fellowship. Her practice has also been supported through artist residencies including The Sam and Adele Golden Foundation, Cow House Studios, and the Vermont Studio Center. She currently lives in Topsham, ME, where she paints and is an Assistant Professor at Bowdoin College.

Donyel Ivy-Royal, b. 1993 (Portland, OR), is a painter currently living in NYC. His works for the most part involve things he is interested in, writings, abstraction, impersonal and personal moments.

Ryan Strochinsky (b. 1994) is a Colorado-based artist, originally from Cincinnati, Ohio. He holds an MFA from the Maryland Institute College of Art’s Leroy E. Hoffberger School of Painting (2021) and a BFA from the University of Cincinnati (2016). Strochinsky has also studied at the Chautauqua School of Art and the Mount Gretna School of Art. Currently, he is an artist-in-residence at Art Farm in Nebraska. His work has been exhibited across the states, including Colorado, Ohio, New York, Pennsylvania, and Maryland.

 

 

For more information about this exhibition, please contact info@whitecolumns.org

For press inquiries, contact violet@whitecolumns.org

To learn more about the White Columns Curated Artist Registry, visit registry.whitecolumns.org

Participating Artists

Michaela Bathrick
Ali Bonfils
Joseph Brock
Eleanor Conover
Donyel Ivy-Royal
Ryan Strochinsky

Curated by Brittany Adeline King and Violet Saxon.

Checklist

Event

Saturday, August 24 at 3:30pm. A performance by Joseph Brock and Raoul Arboite, presented at White Columns on the closing day of REGISTERED / 2024. The performance was followed by a site-specific sound installation by Donyel Ivy-Royal.

A frontal view of a gallery hung with abstract paintings in varying sizes. In the middle of the room is a white table, on which are an array of colorful shaped paper drawings under glass. To their right on the wall are similar drawings hung in a straight line across the wall. On the rear wall are one large and one small abstract painting, and on the left wall are four more paintings of various sizes.
A slightly angled view of a gallery. On the left wall, from left to right, is a large abstract painting in streaky gold, muted purple and pink. To its right is a smaller painting of iridescent polka dots forming a wave-like crest. On the right wall is a line of seven irregularly-shaped drawings in oil pastel. Between the two walls, in the middle of the floor is a white table with a group of thirteen more irregularly-shaped oil pastel drawings presented under glass.
A slightly angled view of two walls meeting in a gallery. On the left wall hangs, from left to right, a large abstract painting followed by four smaller paintings. The large painting is in faded silver and green tones, forming a grid of rectangles overlaid with rainbow polka dots. Two of the “rectangles” are missing, leaving the wooden stretcher bars of the painting visible. On the right wall is a similarly sized painting with a warmer purplish pink palette, and another small painting, also with polka dots. On a table in front of both walls are an array of thirteen irregularly-shaped oil pastel drawings displayed under glass.
A frontal view of a freestanding wall in a gallery. On the wall is a line of seven irregularly-shaped drawings in oil pastel. In front of the wall is a white table with a group of thirteen more irregularly-shaped oil pastel drawings presented under glass. To the left of the wall and slightly further back are two small abstract paintings; one is square and the other is a vertically-oriented rectangle.
An overhead view of a white table, on which are arranged an array of 13 irregularly-shaped oil pastel drawings. The drawings are abstract, with some recognizable patterns like grids or the curled lines of a wrought-iron fence. They range in palette from murky yellow, to bright blue, to dark reds and dusty browns.
A view of two white walls in a gallery, with a third wall further behind them. On the left wall, which is depicted head-on, is a horizontal abstract painting of detailed geometric shapes and symbols in an array of greens and whites. On the right wall, which is visible at an angle, are two smaller abstract paintings in purple and brown tones. On the rear wall is a vertical abstract painting resembling a geyser in a range of blues, greens and white.
A view of a gallery at an angle. On the left wall, closest to the viewer, is a horizontal painting of mysterious charts, overlaid with paint in lines of purple, blue and green tones. Another wall is distantly visible through a brick archway, on which hangs a large abstract painting flanked on either side by much smaller paintings. The large painting depicts a yellowish-beige shape resembling a table against a dark rust-colored background.
A view of several walls in a gallery. The wall closest to the viewer is interrupted by a brick archway. To the left of the archway are two wall-mounted sculptures: on the right is a rectangular abstract work made of yellowed soap, and to the left is a smaller piece made of cement. Several walls are visible through the archway, on which hang four abstract paintings in a variety of pale tones.
A view of a variety of freestanding and wall-mounted sculptures installed in a gallery. On the left wall are three wall-mounted sculptures made of soap and cement. On a pedestal closer to the viewer is a cube made of soap with a corner of the cube missing. To the rear of the gallery, and further to the right, is a cement sculpture installed on the floor composed of two shapes each resembling the letter “E” placed back-to-back. On the wall to the right of this sculpture are two more wall mounted sculptures; the smaller work on the left is made of cement and the other, larger work to the right is made of soap.
A close-up view of a sculpture installed on the floor. The sculpture resembles the texture of cardboard but is cast in cement in the shape of a large letter “E” with a cement panel behind the shape of the E. On this cement backing are two number 5s, one in the upper half of the E and the other in the lower half. Both “5”s look like they are cut out of found paper and collaged to the sculpture.
A view of two walls in a gallery. On the rear wall are a series of five abstract paintings, all on irregularly shaped canvas. On the freestanding wall closer to the viewer are three wall-mounted sculptures. The sculpture in the center is rectangular and made of yellowed soap. It is flanked by a smaller cement sculpture in the shape of a box with a side missing on the left; to the right protrudes a small cement shelf on which rests two octahedrons made of soap. Between the two walls is a pedestal, on which rests a small sculpture of a soap cube.
An installation view of two walls meeting. On the left wall, viewed from the side, is a sculpture composed of ten wall-mounted cast cement circles. On the rear wall, viewed head-on, are four abstract paintings of varying sizes. All four paintings are on irregularly shaped canvases. They each have several lines running either horizontally or perpendicularly, echoing the shape of the stretcher bars. On a pedestal in front of this wall is a small sculpture of a soap cube with the upper left quadrant missing.
An angled view of two walls meeting. On the left wall is a sculpture composed of a line of ten wall-mounted cast cement circles. On the right wall are two abstract paintings. The painting on the left is smaller and shaped like a crest or shield. To the right is a larger painting, also on an irregularly shaped canvas that bows in like an hourglass. They each have several lines running either horizontally or perpendicularly, echoing the shape of the stretcher bars. On a pedestal in front of this wall is a small sculpture of a soap cube with the upper left quadrant missing.
A frontal view of a wall-mounted sculpture composed of a line of ten cast cement circles spaced at even intervals away from one another. The circles cast interwoven shadows on the wall below them, extending in multiple directions.
A frontal view of five abstract paintings of varying sizes and colors. All four paintings are on irregularly shaped canvases. They each have several lines running either horizontally or perpendicularly, echoing the shape of the stretcher bars.
A frontal view of three abstract paintings of varying shapes and colors. The leftmost painting is smaller, with rusty red and cobalt against a purple background. The two paintings to the right are slightly larger than the leftmost painting. The middle painting has a peach background, while the rightmost painting is predominantly blue which fades into red towards the bottom, with a crow-like black shape in the middle of the painting.
A frontal view of five paintings of various sizes (three are smaller, two larger.) The largest and most legible painting is hung second from the left and depicts a distorted table-like shape with abstracted lamps placed atop the table; the lamp’s bulbs are haloed in light and cords extend off of the table and to the edge of the frame.
Angled view of a gallery. A freestanding wall closest to the viewer holds three artworks: two small paintings flanking a three-part wall-mounted cement sculpture. To the left of this wall is a floor-mounted cement sculpture; to the right are three abstract paintings of varying sizes.
A frontal view of a freestanding wall holding three artworks. From left to right are: a small shield-shaped abstract painting, of which the uppermost portion is slightly sheer, revealing the stretcher bars behind the fabric; a three-part wall-mounted cement sculpture of three yellow “P”s in a vertical line; and, all the way to the right, a small bluish-gray painting of the backs of human figures under a latticed form.
A photograph of a painting hanging on the wall behind a gray desk. The painting is horizontally-oriented, an abstract work with two rows of three clock-like forms with distorted numbers and shapes, rendered in a dark rosy pink and gray with flecks of other colors filling in the “clocks.” The top of a desktop computer is also visible just peeking over the top of the desk, and a potted plant juts out of view of the edge of the frame.
An abstract painting on irregularly shaped stretcher bars, which bow in towards the middle like an hourglass. The painting depicts lines and squares in a multitude of colors against a muted teal background, almost recalling a cityscape. The uppermost third of the painting is slightly sheer, revealing the stretcher bars behind an expanse of splotchy teal.
A side view of a sculpture composed of several parts. Two octahedral shapes rest atop a cornice cement shelf. The shapes are made of yellowed soap with the edges of cardboard supports visible where each plane meets the next edge.
A frontal view of an abstract horizontal painting. The bottom half of the painting shows distorted clock-like diagrams filled with small circles in green tones. Around these diagrams, and up to the top edge of the canvas, the images have been partly obscured by streaks of beige paint.
A frontal view of an abstract horizontal painting. The painting’s background is pink, and in the upper middle of the painting is a brown rectangle. Multicolored dots overlay the entire painting. Most of the dots on the right side of the painting are bright red, but they shift in color on the middle and left side of the painting. A bit of string hangs off of the back of the canvas.
A frontal view of a vertically-oriented painting. The painting, in muted grays and blues, depicts the backs of human figures as if walking away from the viewer. All of the figures are positioned under a latticed structure, suggesting architecture.
A frontal view of an irregularly shaped painting on paper. The top and left sides of the painting are straight, while the right side curves in and then juts out again into a bulbous shape. The painting is teal at the top and then shifts to a murky maroon at the bottom, with white shapes painted atop the maroon.

REGISTERED / 2024, installation view. (A frontal view of a gallery hung with abstract paintings in varying sizes. In the middle of the room is a white table, on which are an array of colorful shaped paper drawings under glass. To their right on the wall are similar drawings hung in a straight line across the wall. On the rear wall are one large and one small abstract painting, and on the left wall are four more paintings of various sizes.)

REGISTERED / 2024, installation view. (A slightly angled view of a gallery. On the left wall, from left to right, is a large abstract painting in streaky gold, muted purple and pink. To its right is a smaller painting of iridescent polka dots forming a wave-like crest. On the right wall is a line of seven irregularly-shaped drawings in oil pastel. Between the two walls, in the middle of the floor is a white table with a group of thirteen more irregularly-shaped oil pastel drawings presented under glass.)

REGISTERED / 2024, installation view. (A slightly angled view of two walls meeting in a gallery. On the left wall hangs, from left to right, a large abstract painting followed by four smaller paintings. The large painting is in faded silver and green tones, forming a grid of rectangles overlaid with rainbow polka dots. Two of the “rectangles” are missing, leaving the wooden stretcher bars of the painting visible. On the right wall is a similarly sized painting with a warmer purplish pink palette, and another small painting, also with polka dots. On a table in front of both walls are an array of thirteen irregularly-shaped oil pastel drawings displayed under glass.)

REGISTERED / 2024, installation view. (A frontal view of a freestanding wall in a gallery. On the wall is a line of seven irregularly-shaped drawings in oil pastel. In front of the wall is a white table with a group of thirteen more irregularly-shaped oil pastel drawings presented under glass. To the left of the wall and slightly further back are two small abstract paintings; one is square and the other is a vertically-oriented rectangle.)

REGISTERED / 2024, installation view. (An overhead view of a white table, on which are arranged an array of 13 irregularly-shaped oil pastel drawings. The drawings are abstract, with some recognizable patterns like grids or the curled lines of a wrought-iron fence. They range in palette from murky yellow, to bright blue, to dark reds and dusty browns.)

REGISTERED / 2024, installation view. (A view of two white walls in a gallery, with a third wall further behind them. On the left wall, which is depicted head-on, is a horizontal abstract painting of detailed geometric shapes and symbols in an array of greens and whites. On the right wall, which is visible at an angle, are two smaller abstract paintings in purple and brown tones. On the rear wall is a vertical abstract painting resembling a geyser in a range of blues, greens and white.)

REGISTERED / 2024, installation view. (A view of a gallery at an angle. On the left wall, closest to the viewer, is a horizontal painting of mysterious charts, overlaid with paint in lines of purple, blue and green tones. Another wall is distantly visible through a brick archway, on which hangs a large abstract painting flanked on either side by much smaller paintings. The large painting depicts a yellowish-beige shape resembling a table against a dark rust-colored background.)

REGISTERED / 2024, installation view. (A view of several walls in a gallery. The wall closest to the viewer is interrupted by a brick archway. To the left of the archway are two wall-mounted sculptures: on the right is a rectangular abstract work made of yellowed soap, and to the left is a smaller piece made of cement. Several walls are visible through the archway, on which hang four abstract paintings in a variety of pale tones.)

REGISTERED / 2024, installation view. (A view of a variety of freestanding and wall-mounted sculptures installed in a gallery. On the left wall are three wall-mounted sculptures made of soap and cement. On a pedestal closer to the viewer is a cube made of soap with a corner of the cube missing. To the rear of the gallery, and further to the right, is a cement sculpture installed on the floor composed of two shapes each resembling the letter “E” placed back-to-back. On the wall to the right of this sculpture are two more wall mounted sculptures; the smaller work on the left is made of cement and the other, larger work to the right is made of soap.)

REGISTERED / 2024, installation view. (A close-up view of a sculpture installed on the floor. The sculpture resembles the texture of cardboard but is cast in cement in the shape of a large letter “E” with a cement panel behind the shape of the E. On this cement backing are two number 5s, one in the upper half of the E and the other in the lower half. Both “5”s look like they are cut out of found paper and collaged to the sculpture.)

REGISTERED / 2024, installation view. (A view of two walls in a gallery. On the rear wall are a series of five abstract paintings, all on irregularly shaped canvas. On the freestanding wall closer to the viewer are three wall-mounted sculptures. The sculpture in the center is rectangular and made of yellowed soap. It is flanked by a smaller cement sculpture in the shape of a box with a side missing on the left; to the right protrudes a small cement shelf on which rests two octahedrons made of soap. Between the two walls is a pedestal, on which rests a small sculpture of a soap cube.)

REGISTERED / 2024, installation view. (An installation view of two walls meeting. On the left wall, viewed from the side, is a sculpture composed of ten wall-mounted cast cement circles. On the rear wall, viewed head-on, are four abstract paintings of varying sizes. All four paintings are on irregularly shaped canvases. They each have several lines running either horizontally or perpendicularly, echoing the shape of the stretcher bars. On a pedestal in front of this wall is a small sculpture of a soap cube with the upper left quadrant missing.)

REGISTERED / 2024, installation view. (An angled view of two walls meeting. On the left wall is a sculpture composed of a line of ten wall-mounted cast cement circles. On the right wall are two abstract paintings. The painting on the left is smaller and shaped like a crest or shield. To the right is a larger painting, also on an irregularly shaped canvas that bows in like an hourglass. They each have several lines running either horizontally or perpendicularly, echoing the shape of the stretcher bars. On a pedestal in front of this wall is a small sculpture of a soap cube with the upper left quadrant missing.)

REGISTERED / 2024, installation view. (A frontal view of a wall-mounted sculpture composed of a line of ten cast cement circles spaced at even intervals away from one another. The circles cast interwoven shadows on the wall below them, extending in multiple directions.)

REGISTERED / 2024, installation view. (A frontal view of five abstract paintings of varying sizes and colors. All four paintings are on irregularly shaped canvases. They each have several lines running either horizontally or perpendicularly, echoing the shape of the stretcher bars.)

REGISTERED / 2024, installation view. (A frontal view of three abstract paintings of varying shapes and colors. The leftmost painting is smaller, with rusty red and cobalt against a purple background. The two paintings to the right are slightly larger than the leftmost painting. The middle painting has a peach background, while the rightmost painting is predominantly blue which fades into red towards the bottom, with a crow-like black shape in the middle of the painting.)

REGISTERED / 2024, installation view. (A frontal view of five paintings of various sizes (three are smaller, two larger.) The largest and most legible painting is hung second from the left and depicts a distorted table-like shape with abstracted lamps placed atop the table; the lamp’s bulbs are haloed in light and cords extend off of the table and to the edge of the frame.)

REGISTERED / 2024, installation view. (Angled view of a gallery. A freestanding wall closest to the viewer holds three artworks: two small paintings flanking a three-part wall-mounted cement sculpture. To the left of this wall is a floor-mounted cement sculpture; to the right are three abstract paintings of varying sizes.)

REGISTERED / 2024, installation view. (A frontal view of a freestanding wall holding three artworks. From left to right are: a small shield-shaped abstract painting, of which the uppermost portion is slightly sheer, revealing the stretcher bars behind the fabric; a three-part wall-mounted cement sculpture of three yellow “P”s in a vertical line; and, all the way to the right, a small bluish-gray painting of the backs of human figures under a latticed form.)

REGISTERED / 2024, installation view. (A photograph of a painting hanging on the wall behind a gray desk. The painting is horizontally-oriented, an abstract work with two rows of three clock-like forms with distorted numbers and shapes, rendered in a dark rosy pink and gray with flecks of other colors filling in the “clocks.” The top of a desktop computer is also visible just peeking over the top of the desk, and a potted plant juts out of view of the edge of the frame.)

Eleanor Conover, Home and Away, 2023. Dye, bleach, oil, acrylic and graphite on beveled and bowed pine, 70 × 35 × 5 in. (An abstract painting on irregularly shaped stretcher bars, which bow in towards the middle like an hourglass. The painting depicts lines and squares in a multitude of colors against a muted teal background, almost recalling a cityscape. The uppermost third of the painting is slightly sheer, revealing the stretcher bars behind an expanse of splotchy teal.)

Michaela Bathrick, Cornice 2, 2021. Soap, fiberglass, staples, cardboard and cement, 14 × 3 × 11 in. (A side view of a sculpture composed of several parts. Two octahedral shapes rest atop a cornice cement shelf. The shapes are made of yellowed soap with the edges of cardboard supports visible where each plane meets the next edge.)

Ali Bonfils, Clocks 1, 2023. Tape, acrylic paint, house paint and marker on inkjet printed canvas, 24 × 30 in. (A frontal view of an abstract horizontal painting. The bottom half of the painting shows distorted clock-like diagrams filled with small circles in green tones. Around these diagrams, and up to the top edge of the canvas, the images have been partly obscured by streaks of beige paint.)

Ryan Strochinsky, Eurydice, 2024. Oil on canvas, 10 × 11 in. (A frontal view of an abstract horizontal painting. The painting’s background is pink, and in the upper middle of the painting is a brown rectangle. Multicolored dots overlay the entire painting. Most of the dots on the right side of the painting are bright red, but they shift in color on the middle and left side of the painting. A bit of string hangs off of the back of the canvas.)

Donyel Ivy-Royal, Untitled, 2023. Oil and graphite on canvas, 12 × 9 in. (A frontal view of a vertically-oriented painting. The painting, in muted grays and blues, depicts the backs of human figures as if walking away from the viewer. All of the figures are positioned under a latticed structure, suggesting architecture.)

Joseph Brock, Untitled (Cuts), 2022. Acrylic on paper, 12 1/2 × 7 1/4 in. (A frontal view of an irregularly shaped painting on paper. The top and left sides of the painting are straight, while the right side curves in and then juts out again into a bulbous shape. The painting is teal at the top and then shifts to a murky maroon at the bottom, with white shapes painted atop the maroon.)