Four hands repeat a gesture with multiple interpretations in the roughly woven lattice of Athansios Argianas’ bright, electroformed copper wall sculpture at On Stellar Rays. Interpretable as OK, perfection (if kissed by the lips), zero or something ruder, the sign is enhanced by a long title that suggests that seeing is as changeable as the sea. (On view on the Lower East Side through June 25th).
Karen Heagle’s sumptuous, gold leaved paintings of scavengers, predators and fallen prey are irresistible, even at their goriest moments. On a solitary drawing, the text ‘The Unwashed Masses’ hints that Heagle’s interests stray beyond the lifecycle of animals to reflect on humanity’s ‘natural’ inclination to violence. (At On Stellar Rays on the Lower East Side through Feb 19th).
Thirty foot long sheets of paper, covered in Zipora Fried’s handmade marks in colored pencil and graphite hang like banners from the ceiling of On Stellar Rays, announcing the amount of time and effort Fried put into her project. Installed in folds, viewers don’t see the full extent of Fried’s mark-making but can still absorb the deeply calming cobalt and delft blue colors. (On the Lower East Side through Dec 4th).
Alix Pearlstein is known for artworks which juxtapose individuals from different demographics in order to question their relationships; for her recent solo show at On Stellar Rays, she substitutes cats for people, setting up dozens of relationships between the animals which are complicated by the installation’s title, Harem ROOM 1. (On the Lower East Side through Oct 18th).
Known for clever analogue photo manipulation, John Houck’s latest body of work adds painting to the mix. Houck paints around items borrowed from friends – here a mason jar – in successive arrangements, gradually building one composite photo that disrupts traditional picture space. (At On Stellar Rays on the Lower East Side through May 22nd).
