Sikkema Malloy Jenkins

Sikkema Malloy Jenkins is pleased to present Baseline, a solo exhibition of new paintings and collages by Cameron Martin, on view from September 2 through October 11, 2025. The exhibition’s official public reception will be held on Thursday, September 4, from 6–8pm. How do we read a line? An inexhaustive list of answers could include: 〰️ As the outline of a figure 〰️ As a figure in and of itself 〰️ As a pathway; a trail; a route 〰️ As a glyphic mark 〰️ As writing or signature 〰️ As a stand-in for another gesture More precisely, we could then ask, how does one locate the significance of a line between—or perhaps beyond—our preconceived understandings of representation and abstraction? These questions animate Cameron Martin’s recent body of acrylic paintings and collages, which embrace the disjunctive gap between what one sees and what one assumes to know about an image. As viewers’ perceptions overlap and adjoin, paradoxical notions of handmade mechanization, dimensional flatness, and illustrative abstraction offer a space to mediate these seemingly contradictory forms and processes. The exhibition’s title, Baseline, foregrounds this openness to interpretation with its own multitude of definitions—including, but not limited to, a starting point for comparison, or a basis for defining change. Martin’s recent works can be viewed within several broad categories of visual information, all concerning linear elements and their compositional relationships. Works such as Hallmark (2025) introduce the playful enigma of a calligraphic shape, perched above a horizontal line and floating within a field of overlapping stripes and spheres. The twisted, flourishing figure recalls a familiar lexicon of scripts and signatures, while remaining independent of any definitive symbolic or indexical function. In Graphic (2025), a glowing disk in the upper right of the canvas is intercut with slants of negative space, while below it, a solid black line extends from one side of the painting’s grid backdrop to the other, tipping downwards into a loop before continuing its path. The dynamic scrawl of the line is counterbalanced by the fixedness of the disk, but the exact nature of their pictorial reciprocity is unresolved. The perpetual grid reappears in the monumental triptych, Addendum (2025), which features richly colored, ribbonlike lines floating over an undulating weave pattern. The spatial relationship between these elements is purposefully ambiguous, straddling planes of indeterminate proximity and depth. Unconstrained by boundary or edge, the ribbons and grid travel across the equidistant gaps separating the panels from one another, casting the connective imagery between each canvas into an unseen presence. The large-scale paintings Imprint (2025) and Departure (2024) continue to complicate the figure/ground relationship while drawing upon additional associations of line and form. The twisted, crisscrossing pathways seen in these works are situated amongst other pictorial material including cutout frames, circular apertures, geometric shards, and offset borders. Close looking reveals shadows behind certain forms, but there remains a sense that representational ground doesn’t fully add up; the constituent parts are intrinsic to the composition of the painting, but not necessarily interdependent. As one spends more time with Martin’s work, the initial impact of legibility dissipates into an exploratory terrain of visual phenomena. Alongside Martin’s acrylic canvases, Baseline presents a collection of new collage works on paper. These intimately scaled compositions layer preexisting patterns, textures, and color blocks from a variety of found media with geometric shapes and linework. In contrast to his paintings, which seem to appear upon the canvas without a trace of material production, the collages inherently evince a record of their own assembly. This opens further tensions of perception, as the tangibility of Martin’s hands-on process shifts, reveals, and conceals itself.

Sikkema Malloy Jenkins is pleased to present Cunhó, a solo exhibition of sculptural works by Maria Nepomuceno, on view from September 2 until October 11, 2025. The title of exhibition is an invented word used as a nickname for Nepomuceno by her mother. A public opening reception with the artist will be held on Thursday, September 4, from 6–8pm. Maria Nepomuceno’s chimerical sculptures and wall installations meld the organic with the inorganic, in both shape and substance. Her practice integrates both traditional Brazilian craftsmanship and contemporary materials into her own personal techniques of sewing, weaving, beading, and ceramics. The spiral is essential to her work, reflecting the form’s ubiquity in nature and signifying the perpetual flow of time and energy. Sewn into whorled discs and soft pockets, the spiraling coils enmesh with luminous orbs, bottle gourds, rows of beadwork, and woven straw. The resulting works evoke a vast biological spectrum ranging from microscopic cells to macrocosmic landscapes, all vibrantly inhabiting the gallery space. The theme of abundance is vital to Nepomuceno’s work and its propensity towards the infinite, expressed through thousands of colored beads, unceasing spirals, and endless permutations of form and material. Abundance, for Nepomuceno, is not simply a matter of physical volume but a state of plenitude and continuous expansion. Blending diverse morphologies with traditional craft and contemporary installation, the works in Cunhó each sustain their own unique sculptural makeup while simultaneously embodying the boundless potential for reproduction and recombination.

Sikkema Malloy Jenkins is pleased to present Tracing the threads, I find you, a solo exhibition of work by Spanish artist Teresa Lanceta, on view from April 12 through May 17, 2025. The exhibition marks Lanceta’s inaugural exhibition at the gallery, her first gallery show in the United States, and her first solo exhibition in New York.

Sikkema Malloy Jenkins is pleased to announce Hobby Horse, a solo show of paintings by Merlin James, on view from February 21 through April 5, 2025.

Sikkema Jenkins & Co. is pleased to present THE (grand) GESTURE, a group exhibition of works by Trisha Brown, Keltie Ferris, and Arturo Herrera. THE (grand) GESTURE is on view from January 10 through February 15, 2025. THE (grand) GESTURE considers how ideas of movement and action may be formally expressed and conceptually embodied. Trisha Brown, Keltie Ferris, and Arturo Herrera each offer unique interpretations of physicality and performance, often working through the lens of Abstract Expressionism or in response to its legacies. Trisha Brown created works on paper in parallel with her well-known dance career. Brown’s drawings meld the ephemeral gestures of performance, central to her groundbreaking choreography, with a postminimal visual quality that suggests the condition of an action in process. Her large-scale works trace the motions of Brown’s body as she turns, twists, stands, and glides across the paper’s surface with charcoal grasped between her hands and feet. The resulting field of lines and marks evokes the continuous, all-over nature of Brown’s movements and the ghost of a dynamic presence. Keltie Ferris’s abstractions thrum with a vibrant sense of color and tactility. In his paintings, layers of medium are built up and removed with a variety of tools, including hand-held spray guns, palette knives, and occasionally three-dimensional forms. Gesture is invoked as something both immediate and calculated, fomenting a tension between the initiation of an action and its potential outcome. In this way, Ferris’s works can be seen as both a source of energy and an image of its transformation, released as a kinetic interplay of looping swirls, drags of paint, and geometric fragments. Arturo Herrera’s diverse body of work draws upon Modernist strategies of fragmentation and repetition to explore the mutability of images and how they are perceived. Working largely through collage, his abstractions often play with the ambiguity between what is revealed and what is concealed, and how such visual information or associations are transmitted to the viewer. Dance and choreography have been a significant influence on Herrera’s practice: he describes choreography as “unifying,” defined by certain steps and interactions with space in a way that parallels the composite elements of a collage. His earlier works often feature stylized drips, swishes, and other gestural flourishes, while his more recent compositions continue to use gesture as structure in a more open and painterly way.

This solo exhibition features a new body of colored-watercolor and ink collages and works on paper, alongside a series of bronze busts.