Andrea Chung, is an American artist born in Newark, NJ and currently working in San Diego, CA. Her work focuses primarily on island nations in the Indian Ocean and the Caribbean sea; specifically on how outsiders perceive a fantastic reality in spaces deemed as “paradise”. Chung creates cyanotype prints of lionfish, a non-native species that has proliferated recently in the Caribbean, destroying the local ecosystem. With their cyan-blue color, the prints conjure a fantastic underwater world, while offering a potent allegory for colonization, as the invasive lionfish reshape their environment according to their own needs. Chung arrived at the cyanotype process through her interest in early photographic histories of Jamaica.

Untitled, 2016
Cyanotype on 140lb watercolor paper
22 1/2 × 30 in
57.2 × 76.2 cm

Alex Olson’s work considers how we read surfaces, both socially and perceptually. She sets up compare/contrast scenarios that question how each part might be put into language as well as the desire to do so. She frequently uses modeling paste to create textures and layers, in particular a painterly glop that divides the canvas and suggests a peeling away of a surface to reveal more. Composed of direct brushwork and common signage, the paintings are often self-evident in their construction while suggesting a range of potential associations. Her canvases are also notable for their incredibly thin stretchers, giving the impression of the painting being almost flush with the wall. Olson’s visual inspiration comes from a wide range of sources, including fashion, architectural surfaces, facades, and graphic design.

Untitled, 2020
Oil and modeling paste on gessoed paper
17 × 14 in
43.2 × 35.6 cm

Analia Saban’s sculptural paintings are the result of the artist’s interest in dissecting both the painting process and her works themselves. Saban describes her own method of working as both artistic and scientific—an approach that was inspired by her former instructor John Baldessari. She is best known for using laser cutters, silicone molds and acrylic, and erosive techniques. In her early works, Saban reduced the works of Modernists like Wassily Kandinsky, Joan Miró, and Henri Matisse into individual swatches of color, which she then cut out, copied, and rearranged. Since then, her painting practice has also included unraveling painted canvases and wrapping the threads into a single ball; shrink-wrapping oil-on-canvas works such that the paint moved beneath the plastic; and using photographic emulsion as a device for applying marks to painted surfaces.

This One (Edition of 100), 2019
1 color etching with color pencil
37 × 28 1/4 in
94 × 71.8 cm
Edition of 100 + 18AP