Tiny roads bisect the anonymous subject of Derrick Adams painted collage, suggesting that this character is on an unswerving journey. Plaid fabric maps a city grid and African textiles nod to the heritage of the woman in this vibrant portrait of an individual in the driver’s seat of her own life. (On view at Tilton Gallery on the Upper East Side through Jan 6th).
In his latest solo show at Susan Inglett Galley, William Villalongo’s characters are an amorphous mass of organic material rather than distinct identities. Here, Villalongo alludes to Henry Brown’s escape from slavery in a box mailed from Virginia to Philadelphia, begging the question of how historical distance can allow identities to shift. (On view through Dec 9th).
Three isolated bathers search for shells in a nature scene that melds sky and water, melancholy and peace by Paolo Ventura at Edwynn Houk Gallery. Ventura’s new hand painted, collaged photos evoke stage sets that question time and place. (On view in the 57th Street area through Nov 11th).
Young Columbian artist Maria Berrio envisions harmony between humans and nature in richly patterned Japanese paper collages that delight the senses. In this detail, a lush landscape is setting to a thoughtful folkloric character perfectly at home as human and monkey habitat merge. (On view at Praxis International Art in Chelsea through Oct 28th).
French artist Nathalie Boutte captures the allure of the unknown past in her collage recreations of 19th century daguerreotypes and historical photos. Here, Boutte remakes Seydou Keita’s well-known 1958 portrait of a hip young Malian man using strips of paper covered with varying amounts of text. The effect (seen here in detail) is to blur Keita’s sharply clear image, suggesting that the passage of time diminishes the potential to see the subject clearly. (At Yossi Milo Gallery in Chelsea through Oct 21st).