Bones look like butterflies, butterflies have bones and feathers, bones and feathers are frozen and dripping in what looks like oil. The drawings meanwhile are chalky and colorful or inky and dark, with spirals and starbursts, maybe labyrinths and explosions. And throughout, a skeleton with wings often appears as the central character named Caroline. She became a guardian angel and eventually a morphed self-portrait. She is pictured as a swarm of buzzing flies, singular and solemn with colorful wings. Like the rest of the work in the show, Caroline seems to be morphing into something else, or between stages of change. The only figure in this world, she is trying to capture something that is already escaping.


way — often something Either/Or/Both/And. Bones look like butterflies, butterflies have bones and feathers, bones and feathers are frozen and dripping in what looks like oil. The drawings meanwhile are chalky and colorful or inky and dark, with spirals and starbursts, maybe labyrinths and explosions. And throughout, a skeleton with wings often appears as the central character. It refers to a plastic toy found in the basement of an estate sale that hangs from the rearview mirror of the artist’s car. Named Caroline, she became a guardian angel, eventually a morphed self-portrait. She is multiplied as a swarm of buzzing flies, singular and solemn with colorful wings, and doubled into a 69-ing reflection. Is she dead, alive, a fairy, a ghost, an angel? Like the rest of the work in the room, Caroline seems to be always in the middle of morphing into something else, or hovering in between stages of change. The only figure in this world, trying to capture something that is always already in the process of escaping.




waxy feathered thing is laid out, wings spread, as if recently captured and pinned for presentation. But also shaped like a pelvis, it’s perhaps more like a dug up bone, with origins yet to be determined. The drawings and objects in the room operate this

A

Caroline's
Butterfly Trap


Price List







Exhibitions

Exhibitions on view
 December 2023

is an artist living and working in Kingston, NY. Right now, they have been making spiny and feathered ceramic sculptures and big colorful drawings with ink and chalk. Before that, they made work about seaweed and maps, grieving rituals, gender, and what it means to be a part of a family. When they’re not working at their home studio in the backyard, they work full-time as a specialty chef, making vegan candy in a kitchen off the highway in upstate New York.

Bridget Gettys

Artist Bio


Both public and private, American front yards are highly visible places that become stages for self-expression and ideation. In The Front Yard, I use my own yard as a studio to construct and then photograph signs and outside decor. I mimic the ways these spaces are kept and decorated as a means to show the homeowner’s identity, class, and political affiliation. The photographs depict scenes with objects and messages meant to literally and figuratively exclude and alienate. Hand-made signs warn of uncertain dangers, pointing to a culture of fear and intimidation.
 
This work illuminates the way language is used to restrict and antagonize under the guise of free speech and morality. Words are powerful but are frequently used cavalierly without concern for their consequences. I borrow rhetoric that is often used in divisive and political ways, echoing themes of access, affiliation, and ideology. The messages are ominous yet vague, warning of an ambiguous but impending danger, echoing a theme of paranoia and fear of the status quo being overturned. 

 kept and decorated as a means to show the homeowner’s identity, class, and political affiliation. The photographs depict scenes with objects and messages meant to literally and figuratively exclude and alienate. Hand-made signs warn of uncertain dangers, pointing to a culture
of fear and intimidation.

This work illuminates the way language is used to restrict and antagonize
under the guise of free speech and morality. Words are powerful but are
frequently used cavalierly without concern for their consequences. I borrow
rhetoric that is often used in divisive and political ways, echoing themes of
access, affiliation, and ideology. The messages are ominous yet vague, warning of an ambiguous but impending danger, echoing a theme of paranoia and fear of the status quo being overturned.




oth public and private, American front yards are highly visible places that become stages for self-expression and ideation. In The Front Yard, I use my own yard as a studio to construct and then photograph signs and outside decor. I mimic the ways these spaces are 

B

The Front Yard

Price List

Bryan Martello is an artist based in Pittsburgh, Pennsylvania. His work intersects photography and objects, playing with excessive materiality to create a hyper-tactility that reinforces the photographic image’s physical presence. He is a 2022 Heinz Creative Development Award recipient. His work has been exhibited in solo and group shows, most notably at NARS Foundation in New York, NY; Silver Eye Center for Photography in Pittsburgh, PA; and Photographic Resource Center in Boston, MA. He attended the Skowhegan School of Painting and Sculpture in 2016. He received a BFA from the Massachusetts College of Art and an MFA from the University of Texas at Austin.

Bryan Martello

Artist Bio

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