Inman Gallery

This exhibition embraces an ethos of spontaneity and eclecticism, celebrating the diverse range of our artists’ methodologies, aesthetics, and tastes. The theme also offers a meditation on the ways we construct our daily environments, from the systems we put in place to the seemingly ‘secret’ codes that make those systems functional. In highlighting a (seemingly) mundane aspect of our day-to-day operations, IG–VR-A is an homage to this building and its physicality: all the ways we have shaped it, and all the ways it has shaped us. This exhibition was heavily inspired by a shared curiosity to look and touch and rummage behind the scenes – an urge that only increases the more it is denied. In that vein, this show is dedicated to anyone who has ever visited the gallery and wanted to rifle through all the hidden gems tucked away on our shelves (don’t worry, we get it!) This one is for you.

Darren Waterston creates richly layered, sensuous paintings, that encourage the viewer to sit with deep human emotions centered around love, loss and human endurance. The exhibition’s title, Adrift, calls us towards the emotional sensations of being unmoored and untethered. With references to abstracted landscapes, wherein pictorial space is destabilized and ethereal, the works explore the sensory experience of floating outside of the body, representing in-between states of dream and awake. At times terrestrial, marine or celestial, the atmospheres depicted feel humid and thick, enveloping the viewer in a rich cloak of saturated color.

Inman Gallery is pleased to present, Weathervane, featuring work by: Charis Ammon, David Aylsworth, Amy Blakemore, Francesca Fuchs, Jackie Gendel, Emily Joyce, Toni LaSelle, Brown Lethem, David McGee, Katrina Moorhead, Kristin Musgnug, Robyn O’Neil, Alexis Pye, Robert Ruello, Beth Secor, Carl Suddath, Brad Tucker and Jana Vander Lee.

Toni LaSelle: Summer 1964 VIEW WORKS Inman Gallery is pleased to present Summer 1964, a solo presentation of select works by by Texas Modernist Dorothy Antoinette "Toni" LaSelle. The works on view span her three most active decades – 40s, 50s, and 60s – principally made during her summers in Provincetown. The installation exemplifies LaSelle's formal experimentations from biomorphic Surrealism through geometric Abstraction, and celebrate her diversity of mediums in oil, charcoal, and watercolor, including both paintings and works on paper.

Meanwhile presents a new suite of paintings exploring quiet intimacies: buckets of flowers in bodega entryways, dewy raindrops on plastic sheaths for bouquets, HEB greeting cards waiting to be purchased, and closeups of socks, implying a private moment at home. The exhibition marks a transition from the artist’s previous grittier cityscapes and construction sites towards softer subject matter. The imagery is still "in the city” – grocery stores, bodegas, flower shop storefronts – but the gaze has shifted to capturing public places that speak to private expressions.

The Melancholic Girls Brigade: The Lovers, The Dreamers, and Me offers a portrait of young adulthood exploring the transition between one’s late twenties and early thirties. A meditation on the artist’s own life stage, Pye paints female figures, often alone and content in their own company. Her protagonists exist in public spaces –bars, cafes, and other cityscapes– while being absorbed internally, perhaps as melancholic lovers or dreamers as the title suggests. Showcasing both paintings and works on paper, the exhibition embodies emotional undertones of navigating breakups, interpersonal relationships, and balancing pragmatism with romanticism.

(of) Everything Island features relics, fragments, and emissaries from one such world. Lithographs of fairy flowers – bergamot, musk mallow, cosmos – printed on layered translucent film, twine together as they fade back and away, opening a channel to their land of origin. A blackthorn walking stick, a “ladies’ stick,” trails ninety-nine rose-brass thorns across the gallery, too elaborate to hold, stifled under the weight of its own glamour, its own sorcery. Two hunched spirits, identically clad in fur and crystal, rotate on separate tripods across from one another, never coming face-to-face, eternally out of sync. A broken tambourine frame stuffed with a pink bunny hide is doubly muted: the tambourine pinches the bunny’s ears; the hide displaces the tambourine’s zills. The zills re- appear in a companion piece, embedded in a scalloped groove in a book of stories, rendering the book-instrument both unreadable and unplayable. Transformation is the abiding rule. Every object teeters on the edge of becoming, or collapse, or renewal, or some combination thereof. Every object is pierced, or porous, or precarious. Every object might be another object’s ancestor, or cousin, or hatchling, or reincarnation. Recurring motifs, recurring materials, echoes and doppelgangers abound.

In her photographic series, On the Geography, Madrid-based artist Linarejos Moreno explores landscape from a decolonized, gender-informed perspective. Combining photographic and text-based imagery, Moreno’s broader project takes the form of a geographical treatise consisting of large-format works that juxtapose photographs of landscapes with tables of data to capture the physical and social reality of a territory. Utilizing the methods of documentation first used by early colonizers of the American continent –the juxtaposition of images and data– Moreno interrogates the colonial and patriarchal gaze through which the Western history of landscape representation has been constructed.

With a proclivity for anonymity, Demetrius Oliver creates works utilizing prosaic materials to explore atmospheric phenomena and the nonhuman world. Painting, photography, video, and sculpture effortlessly commingle within his practice, forming abstractions that resist easy categorization and reveal little about the artist. The intentional omission of his hand – the use of digital photography over film, and aerosol spray over a paintbrush – makes his remove physical, both in the process and the resulting object. Like the geographical formations and natural phenomena from which his practice draws inspiration, his work appears to have happened rather than to have been made.