Portfolio > Current Art Shows

This is my work in the group show Sur/Realism, at the Amos Eno Gallery, Brooklyn, NY. This is the second of two linked shows of work by new members of the gallery.

Truncated Landscape II
acrylic on canvas
54 x 36 inches
2002
Truncated Landscape_Ashfall
acrylic on canvas
36 x 48 inches
2004
Truncated Landscape_Roadtrip I
acrylic on canvas
60 x 44 inche
2004
Truncated Landscape_Floating
acrylic and oil on canvas
54 x 36 inches
2005
Communicant
acrylic on canvas
72 x 48 inches
2019

Small Group Shows Featuring New Works by Gallery Member Artists Joyce Yamada, Aaron Wilder, Nishiki Sugawara-Beda, David Olivant, Kahori Kamiya and Ligia Bouton.

October 7th – November 14th, 2021

Hyper/Reality on view from October 7th – October 24th, 2021

Sur/Reality on view October 28th – November 14th, 2021

Opening Receptions: Friday, October 8th & Friday, October 29th from 6-9 PM

Hyper/Reality and Sur/Reality are dual Fall 2021 exhibitions presented at Amos Eno Gallery that feature works in dialogue with reality and its discontents. These exhibits each last for three weeks, and together, they present works by member artists who have yet to mount solo exhibitions at the gallery. These shows are curated by gallery director Audra Lambert. Hyper/Reality, on view from Oct 7th through October 24th, features artworks by Ligia Bouton, Grant Johnson and Aaron Wilder. The following exhibit, Sur/Reality, includes works by Nishiki Sugawara-Beda, Kahori Kamiya, David Olivant, and Joyce Yamada, and lasts from October 28th-November 14th. What links these two exhibits together is an analysis of how reality/ies can be skewed and re-interpreted utilizing new media, photography, mixed media, painting, collage, sculpture, installation and performance art.

Baudrillard’s 20th century art criticism introduced the concept of the hyperreal, which marks the rising importance of the Simulacrum over reality. Hyper/Reality confronts the many ways in which the hyperreal has overtaken reality in the present day, delving into digital and wireless technologies that have pervaded our view of what is, and is not, ‘real.’ Works on view in Hyper/Reality present altered visions of the ‘real,’ as defined by the overlap of digital, natural and social phenomenon that permeate our everyday lives. Sculpture by Ligia Bouton embraces industrial materials while examining legends of the American “Old West,” providing humorous evidence for how these myths are actually appropriated narratives. Works by Grant Johnson layer imagery of our surroundings while framing questions about how we experience and analyze these environments, probing what information may be omitted from our conclusions. New media, photography and installation work by Aaron Wilder asks us to reconsider narratives as political sites, asking how realities shift when they become co-opted, censored or re-interpreted in ways that may escape our notice.

Sur/Reality posits how alternative views of reality can enhance our vision of what is and what could be. In the 1927 Surrealist manifesto, André Breton shares his view that Surrealism seeks to combine the real world and dreams into a ‘super-reality,’ or an absolute reality. Surreal visions of the world integrate impulses from the unconscious into reality, forming a composite worldview reflecting our perception of the world around us. Works by Nishiki Sugawara-Beda span installation and ink on paper, harnessing the subconscious mind and spiritual intuition to produce monochromatic marks, and framing the natural world as both subtle and sublime. Kahori Kamiya’s work embraces textural dissonance commenting on life’s idiosyncrasies presenting works that comment on the distinctive experiences of breastfeeding. David Olivant’s works exert a vision of a world fragmented against itself. His collages are composed of often dissonant elements that present a comprehensive yet contradictory view of how we perceive reality. Paintings by Joyce Yamada reflect on our tumultuous relationship with the natural environment, mining a deeper understanding, through intuition and instinct, of humanity’s relationship to the surrounding landscape.

In a world demanding that we accept often-conflicting realities and assimilate them into a universal worldview, both Hyper/Reality and Sur/Reality shift our focus away from the idea of truth, instead speculating on what it is that we take for granted, and exposing how it can be impermanent, faltering, and unreal.


Hyper/Reality and Sur/Reality are curated by Amos Eno Gallery Director Audra Lambert. Lambert holds an MA, Art History and Visual Culture from Lindenwood University, with a BA in Art History and minor in Japanese from St. Peter’s University. Her curatorial projects center Feminist and Queer art histories with an intersectional and intercultural lens. She has curated exhibits at the Center for Jewish History - Yeshiva University, Fountain House Gallery, The Living Gallery, Arsenal Gallery, Radiator Gallery, and others. She is curator-in-residence at The Yard, So. Williamsburg and Founder/Editor-in-Chief of ANTE mag, a platform for exhibition-making and art criticism in dialogue with artist-run projects.