The project suspended, unsited at FOYER-LA offers a respite from habitual perception generating a held moment of the incidental, the transitory, the peripheral— in space, in time, in awareness. In the fantastical work of Jessica Goehring, Megan Walch, and Nathan See fields of color energy weave together illusionistic, tech-originated, and intuitively constructed space…

In FOYER-LA’s current project, A Possible Fantastical Narrative, Katayoun Vaziri and Mookwon Han expose vulnerability, often with humor, in their narratives investigating the complexities of our relationship to meaning. Through observation, Vaziri constructs domestic spaces with a subtle hope for revolution and change within daily life …

In Foyer-LA’s current project, Blood Makes the Grass Grow, Emily Janowick examines how frameworks- both seen and unseen- guide us through our daily lives. Her installations provide alternative access to familiar architectural environments; encouraging curiosity and exploration…

Unceremoniously invited to “make something of a plywood floor”, the museum decided to embed itself within it. Protruding from that surface like any surgically engorged ass (Has it mentioned the story it’s seeking representation for, revolves around plastic surgery?) the museum set up shop in the trodden “platform” of another’s, similarly sketchy, “art envelope” …

In FOYER-LA’s current project, proximity, Connie Walsh explores the tension between intimate and inaccessible spaces. The viewer crosses a threshold onto a plywood floor raised fifteen inches off the ground: a pedestal for half spherical ceramic sculptures that contain hidden voids. These sculptures, of varying shades of tan, seem to float with weight above the surface in clusters…

FOYER-LA’s current project, silt joy, explores visual or technical grid-like structures that fold in upon themselves to become something new, interdependent, or a kind of index. Jessica Lund’s obsessive record-making of banal moments becomes frozen in time …

Fast Slow Disco, FOYER-LA’s current project, takes its title from a St. Vincent song that features the lyric, “I’m so glad I came but I can’t wait to leave.” The viscosity of our re-entry has a sense of presence and a sense of absence- it is filled with readiness, but has little momentum …

My images are generally figurative, simple (single figure), often self-portraits I use to try and show the complexity of what's on my mind. I mostly tend to use drawing and printmaking to create images that almost always deal with issues surrounding fear, race, isolation, sexuality, spirituality, struggle, …

“Ignore it and it will go away”. That’s the graffiti scribbled on the hallway wall before you open the door to the studios. This hallway graffiti is proceeded by five flights of stairs in the List Art Building at Brown. There’s lots of graffiti here, nefarious some, …

In FOYER-LA’s project, ‘Feb 21 and arrival at the repetition’, Chase Wilson shows a series of paintings with a lust for space. Working wet on wet to make his oil paintings, Wilson creates a time constraint that he describes as “speedy, but somehow refined, in the sense …

In Foyer LA’s new project, Implication of Something Real, artists Phyllis Baldino, Gary Cannone, and David Dodge explore various ways that pattern, structures and systems act as organizing framework and index for human behavior and communication. David Dodge reimagines the language of …

In FOYER-LA’s project DIS-CONTENT, three artists: Amy Barkow, Leslie Brack, and David Schafer explore the yearning to be determinate at a time of exceptional fragility. Amy Barkow describes her time in quarantine as, “allowing her the freedom to explore and work more …

Marina Kappos and a film by Maya Deren. Transfigured is FOYER-LA's first effort to show work during COVID. In addition to regular hours, we have designed the project to also be viewed from outside the space, through the glass facade. The work will be lit and the …

Lucy Puls’ project at FOYER-LA, To_Fall_Freely alludes to the slippage of a poetic façade. Puls starts with a fascination of the discarded- cast-offs from dumpsites, thrift stores, curbsides, and uninhabited houses. Her photographs survey the vacated as containers of memory capturing a ghost like residue of its …

In Uncertainties, a two-person project of Robert MacDonald’s paintings and Laura Cooper’s sculptures, the line is forever alternating between breach and continuity. Both of the artists work with ideas of control and spontaneity within strict procedural boundaries and each explores surface and depth in complex, open-ended, and …

Taken as series of Kodachrome travel shots in the photographer’s earliest working years, “Berlin Zoo, 1988,” 2017 registers the failures of colonial era collecting and categorization. The images of animals in their false habitats captures the melancholic conditions of confinement, and in turn, reverberate outward to a …

The Subject, the Secondary, and the Object displays these elemental roles in various spatial arrangements. Kyoko Oshiro’s floral works sculpt interlaces, where one plant element overlaps another and creates a sense of tension between alternating materials. Patrick Lakey’s female ‘Morrison’ acts as a poetic locator- an aimless figure in …

Foyer-LA hosts a held moment of pure suspension: Static Activity. This group show, explores sensations of both absence and presence, of recharging and redirecting. Michael Ashkin’s “constructed photographs” are spray paintings where different sources of value are radiated onto a flat surface. He thinks of them as …

Located behind a courtyard and before a studio, Foyer-LA was launched as an extension of my practice and an experiment in dialogue. The inaugural project of Foyer-LA is an exhibition of friends, colleagues, and peers from around the world, whose work, like the space in which they are gathered, …