440 Gallery is pleased to present “Breathing Space,” a solo exhibition by Shanee Epstein. This is the artist’s sixth show at the gallery and caps a year of displacement for Epstein as her working space was unavailable for over a year while her new studio was under construction. Epstein celebrates the return to a creative place through her collage work in this show. The art is layered in patchwork narratives stitched together with free form edges that are unconfined by a rectangular grid. Photographic elements are far more prevalent in these new works and the imagery of a farmhouse in a rural setting is a recurring motif.
440 Gallery is pleased to present “Painted Travels,” an exhibition of new plein air watercolor paintings by Susan Greenstein. This collection of work comes from Greenstein’s recent travels to Maine down to North Carolina, and is her fourth solo show at the gallery.
440 Gallery is pleased to present “Nocturns” by Brooklyn-based artist Fred Bendheim. This is Bendheim’s first exhibition centered on the theme of nocturns and his third solo show at the gallery. “Shapings,” the artist’s trademark work of paintings on wood and PVC board, painted relief sculptures and recent work from the past two years will be included in this exhibition.
440 Gallery presents La Luna, a new series of pastel drawings by Jo-Ann Acey. This marks the artist’s first solo exhibition with the gallery.
Jo-Ann Acey’s drawings combine the real and the imaginary. In the exhibition, La Luna, she combines the beauty of nature with her sense of fantasy. Acey’s deliberate, yet spontaneous use of color and line become vital forces in these pastel drawings. The images emerge with energy and movement taking the viewer to a new universe.
Leigh Blanchard uses photography to consistently push the definition of what a photograph is. By digitally stripping away information present in old photographs, Leigh allows fragments of images to appear, hinting at what used to be, while revealing a new perspective. This rebirth of the image grants it fluidity and a paintlike organicism that isn’t typically seen in traditional photography.
Amy Weil uses an additive and subtractive technique to build up layers of pigmented wax. Weil scrapes down and inscribes the surface of the wax; collaged materials incorporated into the surface become buried in the layers of the piece. This process of scraping and collaging—a dichotomy between order and chaos—reveals fragmented images like an old memory.