Kristen Sanders at Asya Geisberg Gallery

At what point in human development did we become self-aware? This question absorbs Kristen Sanders in new paintings featuring mask-like faces in pre-historic natural environments at Asya Geisberg Gallery in Chelsea.  Interested both in the initial development of human consciousness and its current potential for manifestation via AI, Sanders visages look as if they’ve been peeled from contemporary mannequins and abandoned in ancient shell-strewn, rocky coastal scenes.  In this haunting image of a floating head titled ‘Middle Paleo,’ long lines across the face could reference the first deliberate marks made in sand by protohumans (a Sanders preoccupation), drips of a strange liquid or slash marks.  The ambiguity is provocative, highlighting the figure’s artificiality and strangeness and acknowledging the difficulty of reconciling such vastly distant eras of human development.  (On view in Chelsea through July 8th).

Kristen Sanders, Middle Paleo, acrylic on canvas, 60 x 40 inches, 2022.

Rebecca Morgan in ‘Amuse-Bouche’ at asyageisberg.com

Rebecca Morgan’s skewering of elitist urban attitudes towards rural Americans has shifted towards the grotesque in recent years.  You wouldn’t guess this to judge by this highlight of Morgan’s 2014 show from New York Art Tours archive, a sensitive portrayal of the artist wrapped in her ‘depression blanket.’  Audacious and merciless as ever, Morgan’s latest work at Asya Geisberg Gallery is part of a group exhibition of work priced under $3k; her young woman in a face mask is a highlight of the presentation.

Rebecca Morgan, Depression Blanket, oil and graphite on panel, 28” x 22,” 2014.

Joani Tremblay in ‘Plastic Garden’ at Asya Geisberg Gallery

The peachy tones of the rock formation in this painting by Canadian artist Joani Tremblay resemble spray-tanned flesh as much as sedimentary stone, questioning Mother Nature’s ‘natural’ qualities.  Included in Asya Geisberg Gallery’s ‘Plastic Garden’ summer group show, this painting’s houseplants further signal that the view is seen through an ‘arranged’ human lens.  (On view in Chelsea through August 16th).

Joani Tremblay, A Room of One’s Own, oil on linen, 36 h x 32 x inches, 2018.

Chelsea Seltzer & Theo Rosenblum in ‘Alive with Pleasure’ at Asya Geisberg Gallery

Chelsea Seltzer & Theo Rosenblum reduce a kid’s party to essentials – cake and pizza – then bring the refreshments to life in this wonderfully absurd sculpture at Asya Geisberg Gallery.  Both delicious and disgusting, funny and disturbing, innocent and sinister, Seltzer and Rosenblum’s character pushes all kinds of buttons.  (On view in ‘Alive with Pleasure’ at Asya Geisberg Gallery in Chelsea through Aug 3rd).

Chelsea Seltzer & Theo Rosenblum, Pizza Cake, wood, foam, epoxy clay, plastic and acrylic paint, 18h x 12w x 10d inches, 2018.

Valerie Hegarty in ‘Morph’ at Asya Geisberg Gallery

Valerie Hegarty’s deliciously bizarre watermelon rind takes a bite out of summer at Asya Geisberg Gallery’s fanciful summer group show of ceramic sculpture. (In Chelsea through August 11th).

Valerie Hegarty, Watermelon Rind with Teeth 2, glazed ceramics, 4.5 x 12.5 x 3.5 inches, 2016.