Between the legible and the opaque: Approaches to an ideal in place

curated by Adler Guerrier

Opening Reception: October 11, 2019, 6–9pm

On View: October 11, 2019–March 31, 2020

Guerrier’s exhibition, Between the legible and the opaque: Approaches to an ideal in place proposes works of various media that incorporate abstraction as both a formal and conceptual framework to render perceptions of place. The use of abstraction facilitates readings of the process inherent in their making. This process involves elements that reference diverse notions of place – its color, materiality, use of language, and instantaneity as landscape. The summation of these notions, a conversation between the work as a whole and its constituent parts, contributes to varying degrees of legibility and evocativeness. The participating artists are Liene Bosquê, Jenny Brillhart, Jude Broughan, Alain Castoriano, Robert Chambers, Irina Dakhnovskaia-Lawton, Lucia Del Sanchez, Genderfail, Ivan Grilo, Xavier Luján, Marron et Masqué, Juan Matos, Nicole Maynard-Sahar, Tana Oshima, Alice Quaresma, Marielle Plaisir, Carrie Sieh, Gerbi Tsesarskaia, and Cristina Victor. 

Adler Guerrier (born in Port-au-Prince, Haiti; lives and works in Miami, FL) is best known for works in photography, drawing, and printmaking that explore the poetics and politics of place. Guerrier received a BFA from New World School of the Arts/University of Florida. His recent exhibitions include Coffee, Rhum, Sugar, & Gold: A Postcolonial Paradox (Museum of the African Diaspora, San Francisco), curated by Larry Ossei-Mensah and Dexter Wimberly, La Construcción de lo Posible, XIII Havana Biennial (Centro de Arte Contemporáneo Wifredo Lam, Havana), and Lines of Fracture (David Castillo Gallery, Miami). Guerrier is a resident artist at the Bakehouse Art Complex and a board member of Oolite Arts and Locust Projects.

Special thanks to I’ve Been Framed and The55Project


Archeology of Memory: The site and sound of ceramics

curated by Morel Doucet

This exhibition opens to the public on November 9, 2019 from 12–5pm.

On View: November 9, 2019–March 31, 2020

Doucet’s show, Archeology of Memory: The site and sound of ceramics, examines the history and use of materials in their raw form, examined through the lens of material culture and utilitarian tradition. The exhibition explores the transcendental nature of the medium, bringing together artists who work with ceramics, glass, and cement in both traditional and experimental allegory to challenge the notions of perception and the psychology of texture, color, and form. The works function within the cross lexicon of said elements and consider scale, both intimate or grand. Archeology of Memory features works by Xavier Cortada, Sharon Norwood, and Troy Simmons, among others, and invites viewers to walk through the synaptic workings of each artist’s mind to visually witness the manifestations of their inner thoughts and aspirations.

Morel Doucet (born in Pilate, Haiti; lives and works in Miami, FL) is a multidisciplinary artist and arts educator whose work explores the cultural disparity of self-realization, assimilation, and transnational identity. Doucet received a BFA from the Maryland Institute College of Art in Ceramics. Doucet’s work has been featured and reviewed in numerous publications including Hyperallergic and The Miami Herald. His most recent exhibitions include More Than That: Diversity within Diversity (Flaten Art Museum, Northfield, MN) curated by Roberto Lugo and Building Bridges II: The Politics of Love, Identity, and Race, XIII Havana Biennial (Galería Carmen Montilla, Havana), curated by Myrtis Bedolla. Doucet is a resident artist at the Bakehouse Art Complex and the Curriculum and Tour Coordinator at the Institute of Contemporary - Miami.

Special thanks to Laguna Clay Company for their support