XYLOR JANE

5

“IN WAYS ALTERNATELY EXPLICIT AND SUBTLE, HER WORK REVEALS THE MIRACLE AND THE DRUDGERY OF ART-MAKING AS WELL AS THE

WONDERS OF THE HUMAN MIND AND ITS NEEDS.”

THE NEW YORK TIMES

6

Xylor Jane (BFA San Francisco Art Institute 1993) is a practicing artist who splits her time between studios in Brooklyn and San Francisco. She has been making visionary paintings and drawings for over a decade.

Xylor Jane has been featured in numer-ous exhibitions in New York, Philadelphia, San Francisco and Los Angeles, including Dirt Wizards and Majority Whip curated by Kathy Grayson, with an solo show at Jack Hanley in October 2004.

Xylor Jane’s work draws on mathemat-ical algorithms to make intricate and staggering installations. Deriving her patterns from basic arithmetic exercises, such as the Fibonnaci series and prime numbers, she deals in both complexity and simplicity, finding hidden curiosities and subtle patterns amidst swarms of numbers and beautiful colors, intricate and staggering installations. Her rigour-ous execution highlights is the personal touch and commitment she brings to each piece.

First known for her works on paper, Xylor Jane now paints on square or nearly square wood panels. Her meth-odology continues to be simple and straightforward, a fat dot of paint care-fully placed within each square of a grid. Think Georges Seurat meets Alfred Jensen meets Peter Young and you get an inkling of what the artist does with her deliberately limited vocabulary. You can also sense the optical complexity she is able to achieve in painting. Using

a no-frills visual language that recalls the binaries and algorithms basic to com-puter programming, Jane applies the dots according to a predetermined sys-tem, which usually brings together pure mathematics with something more vis-ceral. Mathematics and the grid are at use by Ms. Jane to mark the passage of time in bold color and complicated rhythms. An overt investment in pattern drives the artist’s paintings to a place where they fall from comprehension, and return to a visual tapestry of the absurd and sublime. Any notion that the idea creates the art is put to rest by the sheer madness of the machine. Unlike process artists like Sol Lewitt, the reci-pes at play in Ms Jane’s work are for one

cook only. The paintings remind one of the infinite project of Roman Opalka and the date works of On Kawara. The grid-ded paintings of Agnes Martin’s softly patterned and colorfully hazy abstract vistas are also an apt comparison.

The personal musings of the artist trans-late into veils of refined color stemming from a slightly manic preoccupation with measurement, symbolism and notation. For the viewer, wobbly and atmospheric patterns are both disconcerting and reassuring to gaze upon, because we are also part of Xylor Jane’s vast vision of the world. The dizzying vibrancy of Xylor Jane’s practice is highly reminis-cent of Op Art, an influence making an

Xylor Jane - wall painting

7

unexpected comeback in new contem-porary abstraction. In 2009, the exhi-bition N.D.E. took place. The paint-ings were generated from premises as diverse as a society’s organization of time (the Julian calendar), a cliché (life flashing before your eyes), and the cel-lular structure that causes iridescence on butterfly wings. Whatever the originat-ing impulse, the result always remains squarely within an experiential realm that embraces both the optical and the physical.

For all of her knowledge and love of mathematics and abstract systems, it is the odd wrinkle that delights her. What happens, she might ask, when a particu-lar prime number (13831) is also a pal-indrome? It is in these instances, where something delicious and unexplainable happens, that the artist expresses her wonderment at being alive in an infinite, changing reality.Not surprisingly, Jane’s dots of paint recall William Blake: to see the universe in a grain of sand. Her dots are analogous to colored grains of sand, which she uses to patiently construct vis-ual schemes that seem at once open and opaque, dense and accessible. I found myself poring over the paintings like a watchmaker or cartographer, noticing the specificity of each dot, its physicality recalling that it was put there by hand, that it is evidence of attention and a lov-er’s delicate caress. Moving back and forth in front of the paintings, drawing away and stepping closer, as if afflicted with myopia, I was reminded that research in pure science or mathematics could be an

act of devotion driven by curiosity. Jane is never less than completely responsible to each inch of the surface, never inattentive to any part of the painting.

As acts of devotion, Jane’s paintings cel-ebrate the mysteries basic to common sights and experiences. In this regard, she shares something with the major but underknown German painter Peter Dreher, whose Tag Um Tas Is Guter Tag(Any Day Is a Good Day) consists of over 4,500 paintings of the same empty, nondescript drinking glass inexpressively executed under the most neutral of con-ditions. Although this is not her inten-tion, Jane’s paintings serve notice to those who continue to cling to the belief in the death of originality and the debil-itating effect of the simulacrum: open your eyes, there is more to life than being arty and doing the next right thing. “In the current vernacular, one might call Xylor Jane’s work a mash-up of Alfred Jensen’s exploration of ancient numbers and patterns and the calendar systems mapped by Agnes Martin’s exquisite line and almost intolerable sensitivity. But we would need to add to that confluence the particular type of rigor Jane applies to her work in which her painting struc-tures are predetermined by complex counting instructions the artist imposes upon herself. Every color, line, and dot is in place because of deliberate execu-tion of those rules. And even while rigor may describe the manifest structure of these paintings, it does not fully encom-pass the way or why these painting are formed. They are neither exclusive

Xylor Jane and Matt Keegan, collaborative installation for LTTR Explosion at Art

in Genera, New York

8explorations of mathematics and time systems nor are they only personal and hermetic figuration.

These paintings have sources in that they are made up from series of significant cul-tural and personal dates in Jane’s lifetime and they reflect the painter’s fascination with accounts of near death experiences: the fast flash of the past, the soft glow-ing light, the altering effect and the inti-macy of the moment. These things are woven in to her system of numbers, tex-ture, color and pattern, a system that has as much to do with a structure of num-bers as it has to do with sustaining the self of the artist. This is not hyperbole. For Xylor Jane, numbers are more than just

substrates from which she conjures gen-tle or strident patterns, they are her col-laborators and vital effluence. How else could works of apparent mathematical origin evoke such things as humor and vulnerability or obsession and love?

Most of us looking at these paintings cannot hold the layering of prime num-ber sequences, numerical palindromes and strict rules of coloration in our minds all at once. What we do see however, is the absolute and uncanny necessity of those systems to both the work and to Jane. This is what gives them their inter-nal coherence. What we get from these paintings and what so holds our atten-tion is the deep sense of reassurance

that comes from that coherence.”- says Luke Murphy about Xylor Jane’s recent exhibition “Crisscross”.

In 2002, Xylor Jane saw Barnett Newman’s Stations of the Cross paint-ings at the Philadelphia Museum of Art and decided to pursue her own. These four paintings are the latest to come out of her studio. They complete the series of 14. The artist explains that “Crisscross” is actually a group of recent oil paint-ings from the Via Crucis series that she began in the of Spring 2009. The series is based on the 14 Stations of the Cross. The Numbers 2, 5, 11 and 13 deal with The Cross specifically: bearing the cross; crucifixion, and being deposed from it.

These paintings have sources in that they are made up from series of sig-nificant cultural and personal dates in Jane’s lifetime and they reflect the paint-er’s fascination with accounts of near death experiences: the fast flash of the past, the soft glowing light, the altering effect and the intimacy of the moment. These things are woven in to her system of numbers, texture, color and pattern, a system that has as much to do with a structure of numbers as it has to do with sustaining the self of the artist. This is not hyperbole.

Xylor Jane and Matt Keegan, collaborative installation for LTTR Explosion at Art in Genera, NY

next page

Selfsameoil on panel, 55 × 67 cm

2008, detail

9

10

“I MET TAUBA IN SAN FRANCISCO. SEVERAL YEARS BACK. I HAVE BEEN FOLLOWING HER WORK.

ONETIME, SHE INVITED ME OVER TO MEET A MATHEMATICIAN WHO LATER MADE A PROGRAM THAT GENERATED A LIST OF

PALINDROME PRIMES FOR ME.”

INTERVIEW BY XYLOR JANE

11

Xylor Jane Hi Tauba, Good afternoon. It is good to be home early, both for my cold and for the deltoid insertion on my painting arm! I am happy to ask you these questions, because there are so many things I don’t know about you and I am curious. It’s a mix of question marks. Textured is the way I think of it, there are things I want to know, some of which might be dorky and not for print. Your personality numerology for your first and last name is 2 1 3 2 1 1 3 5 9 2 1 3 8 = 41= 5. I am guessing you already know all this.Tauba Auerbach I don’t know anything about numerology at all! Tell me more.

Xylor Jane Five is an explosive number. Lots of activity swirls bouncing around. You get things going, you generate…Tauba Auerbach All of that sounds great and accurate except for the explo-sive part.

Xylor Jane Do you have a middle name?Tauba Auerbach Yes, Katharina.

Xylor Jane Do you collect anything?Tauba Auerbach Eyeglasses. Wood puzzles. Pop-up books. Klein bottles. Osten- tatious jewelry. None of these are big or impressive collections.

Xylor Jane Coffee or tea?Tauba Auerbach Both!

Xylor Jane Do you remember your dreams? Do you write them down?Tauba Auerbach Yes, I usually remem-ber at least one from every night. I don’t

write them down, but I inflict detailed accounts of them onto my friends. One of the best dreams I’ve had was one where I was John Lennon and I was fuck-ing Paul McCartney. Then everything switched and I was Paul McCartney fucking John Lennon. The absolutely scariest dream I’ve ever had in my life is one that I had as a lit-tle kid when I was sick: It was just the image of a projected square of light with rounded corners, crumpling up, disappearing, and then reappearing as the original smooth square, again and again and again. It was the rhythm in the dream that was so scary... a sinis-ter rhythm. I’ve wondered recently if my work with crumpling and folding has anything to do with gaining some kind of mastery over this mysteriously terrify-ing image.

Xylor Jane Do you have a hobby?Tauba Auerbach I’m fuzzy on what defines something as a hobby. Let me look it up. OK, it says, “An activity done regularly in one’s leisure time for pleas-ure.” So, I would have to say a strong “Yes” and a strong “No.” I don’t have any clearly defined leisure time, but I spend most of my conscious hours mak-ing things or researching things I’m interested in, so that’s very pleasurable. When I’m not making work for shows, I’m usually making something else, like sewing, making jewelry, designing furni-ture, making meals, doing album art for friends… and quickly those extracurricu-lar activities get absorbed into my studio practice over time. I guess everything is a

hobby and everything is work.

Xylor Jane I love your calendar. When and how did you get started on this project?Tauba Auerbach Yes! The calendar! I’m glad you like it. You’ve made some nice calendars, too! I started making calen-dars five years ago as an alternative to Christmas gifts. I much prefer New Year’s gifts anyway, because even though January 1 might be an arbitrary point in time, marking the passing of time means much more to me than Jesus’ birthday. So now, every year I spend a few weeks making the thing, usually designing a new font for the letters of the months, and then having it printed and giving it to all of my friends. Each year they get a little harder to decipher and a little fancier.

Xylor Jane Do you prefer to walk or take the subway?Tauba Auerbach Both. And I take an embarrassing number of cabs. I love walking, but right now it’s cold in a way that feels aggressive, like the air is attacking me and I have no choice but to take it personally.

Xylor Jane What is your studio soundtrack?Tauba Auerbach Oftentimes, talk radio. Recently, a few friends of mine like Up Died Sound and Arp have finished recording albums and I’ve been listen-ing to them a lot. A few weeks ago, I was on a lot of Daniel Higgs and Susan Cadogan.

12Xylor Jane How would you want to be reincarnated?Tauba Auerbach I like being a human, but I wouldn’t mind being a creature that had a different type of vision, just to satisfy my curiosity about that. I think it would be fascinating to see ultraviolet like a bee, or to sense objects ultrasoni-cally. I would also like to know what it’s like to be a man.

Xylor Jane What color is your bicycle?Tauba Auerbach I have two. One is white with a little bit of orange and one is green.

Xylor Jane When was the last time you used an alarm clock?Tauba Auerbach I hate alarm clocks. I think they are wrong and bad and evil.

I pretty much only use them as a back up when I have a morning obligation. I sleep better knowing there is an alarm to catch me if I sleep too long, but I usually just wake up before it anyway.

Xylor Jane Are you a gambler?That’s a tough question.Tauba Auerbach No, not at all. There is no thrill for me in risktaking just for the sake of it. But I guess in some ways I take risks all the time, just by trying out new things, but those risks are based on intui-tions about might what come from it, so, in that case, there is some traction to the hope.

Xylor Jane Do you have any phobias?Tauba Auerbach I have plenty of run-of-the-mill fears, but nothing I would

consider a phobia. I once found myself doing something thatmight be a bit hard to describe, but I think it’s in the cate-gory of irrational thought connected to phobias: I was on a roof one time with a friend and he walked very casually right up to the edge. I immediately without thinking sat down and got as low to the ground as possible. It was a reflex, as if I went through some kind instantaneous physical logic that demanded that I do my part to pull our collective center of mass into a less precarious position.

Xylor Jane Favorite film?Tauba Auerbach I have trouble picking favorites. High on the list are Zabriskie Point, The Five Obstructions, The Discreet Charm of the Bourgeoisie.

Xylor Jane What books are you cur-rently reading? Tauba Auerbach Joseph Albers’ New Interaction of Color and Netherland by Joseph O’Neill. I like to have one non-fiction and one fiction book going at the same time.

Xylor Jane Are you a deep sleeper?Tauba Auerbach I am the lightest sleeper ever. You could whisper my name from another floor in the house and I’d wake up.

Xylor Jane Please free-form on your ideas about scale in relationship to the things you make.Tauba Auerbach Right now, I’m try-ing to make a bigger version of a paint-ing that I already made small. It isn’t

Tauba Auerbach “[2,3]” Pop-Up Book & MOVE! Performance

13

working. I don’t know why. Maybe it’s because I am remaining the same size. It’s a little reminder that scale mat-ters. I think it’s fascinating that, when you zoom in on a tiny thing, like a sin-gle atom, all the rules of physics sort of change. Things that are contradictions on our scale make perfect, harmonious sense on another. I guess it makes me think that scale isn’t just relative. Maybe there is a biggest thing and a smallest thing, and they’re qualitatively different in ways other than just their sizes.

Xylor Jane Cook, eat out or order in?Tauba Auerbach Cook and have friends over. I love my friends, they are my fam-ily. Eat out the rest of the time.

Xylor Jane Describe a great vacation.Tauba Auerbach I’m going to describe a fantasy vacation, one in which I see the northern lights, Walter De Maria’s The Lightning Field lit up with lightning, The Great Barrier Reef from up close, and the monolith churches in Lalibela, Ethiopia.

Xylor Jane What is your studio success/failure ratio?Tauba Auerbach Right now, I am oper-ating with a high built-in failure rate. I’m making these “Fold” paintings that involve a lot of trial and error. I paint and paint and paint on unstretched canvas and then edit which ones are worth stretching. It’s full of disappointments and surprises. I think I throw out about ten of them for every one I keep. The folded canvases I

am standing on in the photo are a bunch of discarded ones. Sometimes I walk on the good ones, too, when they are folded to press in the creases. It works better than ironing.

Xylor Jane Have you ever built a snow- man?Tauba Auerbach No, I grew up in San Francisco, where there isn’t any snow. But if I did, I think I would make a snowS woman.

Xylor Jane Do you still make your own clothes? Tauba Auerbach Yes, but more often I draw designs that are too complicated for my sewing skills and I have them made. I’m also just starting to work on some jewelry pieces for the Spring 2011 runway show for my friends’ label, Ohne Titel.

Xylor Jane How have your thoughts about randomness evolved?Tauba Auerbach I’m tired of it in a way. It is so illusive that it almost requires you to stop looking, because if you look for it, you’ll see it when it’s not there. Its lost cause nature is part of what makes it what it is.

Xylor Jane What do you do to relax?Tauba Auerbach I try to forget relaxing. Then I relax.

Xylor Jane When and where do you get your ideas? How do you record them?Tauba Auerbach There isn’t a method to the madness.Sometimes, it’s in

the morning rightafter I wake up. Sometimes, I have really inconvenient bursts of ideas when I’m in a movie or in the middle of a conversation with some-one about something else. I try to write everything down, even my really bad ideas, because trying to hold it all in my head just gums up the works and writ-ing things down makes space for new things to come in.

Xylor Jane How do you prefer to spend time with friends?Tauba Auerbach At home, listening to records, eating, laughing. Going on adventures.

Xylor Jane Since your move to the East Coast do you have a favorite season?Tauba Auerbach Spring. The light changes and optimism feels appropri-ate again. I go back and forth to San Francisco a lot though. I’m kind of half and half right now.

Xylor Jane What are your best hours of the day? Tauba Auerbach The wee ones. No one is calling or e-mailing, there is a particu-lar kind of quiet. For the first time in the day, I don’t feel like I’m in a rush.

Xylor Jane What do you want done with your body when you die?Tauba Auerbach I love this question! For a long time, I thought it would be nice to be turned into a gem, using that process in which a diamond is created from all the carbon in your body. But then I’d have to pick a person to take

14

possession of that diamond, and I don’t even like diamonds, anyway. I suppose the right thing to do is to donate one’s organs. But maybe there could be some nice things done with my hair, like some fancy knotting. And I would like all my friends to ingest a little piece of me.

Xylor Jane What is your latest invention?Tauba Auerbach I’m not at liberty to say. Soon though...

Xylor Jane Did you get the bugs worked out on the Geometry Playground Project at the San Francisco Exploratorium? Can you explain it and tell me what you named it?Tauba Auerbach The project is basically a scaled-up Spirograph, the children’s drawing toy, but much easier to use, and with some additional features that expand on the mechanism. For exam-ple, there are gears that go within ring-shaped gears, which give you the ability to draw more complicated patterns. Or, it can be used very simply to draw star shapes, triangles and things like that. I think this is only the second exhibit at the Exploratorium where you can make something and then take it home, and what you walk away with is a drawing that is about 18 inches in diameter, so it feels like a substantial accomplishment. We are still debugging, but it’s very close. I’m going to San Francisco on Thursday to hopefully finish and name it. Maybe we’ll put it out on the floor for testing and let the kids name it.

Xylor Jane Tell me anything you want

about the “Shatter” pieces you make. How do you work for exmple.Tauba Auerbach The “Shatter” pieces are fun, but tedious paintings to make. I lay a panel on the floor with a piece of glass on top of it and a piece of card-board over that. I smash the glass through the cardboard with a hammer. Then I take off the cardboard and one by one, pick up a shard of glass and spray paint in the hole it leaves behind. The glass left behind acts like a stencil. Then I replace the shard, moving on to the next one, until the whole panel is filled in. On “Shatter” pieces where each shape is a half black and half white gradient, the whole painting is theoretically half black and half white as a whole, but in a hectic formation just determined by the break of the glass. What is a deltoid insertion?

Xylor Jane Great fun reading your answers. Especially appreciate the gen-erosity of your response to the last one. It made me wonder about the tools in your studio. And I was thinking about how lucky you are to recall dreams on a daily basis, maybe it’s related to being a light sleeper. The deltoid insertion is a muscle/tendon anatomy, where yourmuscle comes to a V-shape and attaches to the middle ofyour upper arm, the Humerus. Mine gets aggravated because I paint my panels on the wall combined with the repetitive jiggling of a round brush. It hasn’t been this bad since 2007. When I am not work-ing, I sling my right arm and go left-handed. This is an enjoyable therapy, but surely slows everything down. I may try

painting flat soon. The personality num-ber is derived from the numerology of the letters in your name. “Explosive” is in a context of the other numbers one through nine and the number 11. Four represents stabil- ity, security... then it’s “Boom” for five. Six is the calm after, a perfect number and seven is the magic number. You are a 7 when your middle name is included in the calculation. Very auspicious to be a 5 and a 7 and not just because they are consecutive primes. Have a swell Saturday.Tauba Auerbach Did you know I also have right arm issues, and as a self-imposed therapy do some tasks left- handed? Tooth brushing, mouse-at-computer using. Maybe I should try a sling. I can also feel it making my brain work differently, which is fun. I work flat these days, spraying big, unstretched canvases on the floor, and it has its own set of problems. There is a lot of lean-ing, which is hard on the back. I was instructed to put a leg out behind me as a counter- weight by someone who does body work, and it really helps, so now I look like a real weirdo while I’m painting, with a heavy duty respirator, a shower cap, and knee pads, standing on one leg with the rest of my body paral-lel to the ground, the other leg stretched out behind me. I think in yoga it would be a pretty good Warrior III pose that I’ve got going. I proba- bly look like a psy-chotic, dustcovered ballerina surgeon. I’m off to the studio to spray. Have a great Saturday as well and thank you again for being the one to ask me ques-tions. They were so good.

15

Tauba Auerbach

16

17

GALLERY XYLOR JANE

Boombinatingoil on panel , 40,64 × 50,8 cm,

2010, detail

Dancefloor oil on panel, 60 × 89 cm

2007, detail

Cradle oil on panel, 97 × 75 cm

2009, detail

Departing oil on panel,104 × 112 cm

2008, detail

Brood oil on panel, 60 × 70 cm

2007, detail

Ruin installationThe strokes face either in or out,

changing with each year along with the hue584 weeks,11.22 years

Art Career in Black and VelvetFailure misery demise

Time prison, blocks of years

So Long installationstructured on a 16-sided polygon

that squares itself at the edge8 ×16 × 32 it has a stutter that allows the seven hues to be in order (on the vertical

and horizontal-) in both directionsit has 4096 strokes facing out

Strokes radiate from skewed center, growing larger.

Black rainbow waves an Infinite good bye

727 Digit Tetradic Prime oil on wooden panel, 54 × 61 cm,

2010, detail

Gates oil on panel, 53 × 43 cm,

2009, detail

Pequod ink on paper, 28 × 25.4 cm,

2005 (extrait)

Daybreakoil on panel, 74 × 79 cm

2008, detail

Lepidoptera oil on panel, 70 × 36 cm

2009, detail

42

“CRISSCROSS IS A GROUP OF RECENT OIL PAINT-INGS FROM THE VIA CRUCIS SERIES I BEGAN SPRING 2009. THE SERIES IS BASED ON THE 14 STATIONS OF THE CROSS. NUMBERS 2, 5, 11 AND 13 DEAL WITH

THE CROSS SPECIFICALLY: BEARING THE CROSS; CRUCIFIXION, AND BEING DEPOSED FROM IT.

IN 2002, I SAW BARNETT NEWMAN’S STATIONS OF THE CROSS PAINTINGS AT THE

PHILADELPHIA MUSEUM OF ART AND DECIDED TO PURSUE MY OWN. THESE PAINTINGS ARE THE LAT-

EST TO COME OUT OF MY STUDIO. THEY COMPLETE THE SERIES OF 14.”

XYLOR JANE

Via Crucis II ,oil on pannel, 74 × 79 cm,

2000, detail

Via Crucis III (Second Fall) oil on panel, 60 × 60 cm

2010, detail

Via Crucis IV (Hi Mom)oil on panel, 90 × 56 cm

2009, detail

Via Crucis V (Crucifer) oil on pannel, 84 × 84 cm,

2010, detail

Via Crucis VIII (D.O.J.) oil on panel, 70 × 67 cm

2009, detail

Via Crucis XI oil on pannel, 67 × 87 cm

2010, detail

Via Crucis XIII oil on panel, 84 × 84 cm,

2010, detail

57

58

Solo show, Canada gallery, New York, U.S.A.

Crisscross, Galerie Almine Rech, Paris, France

N.D.E., Canada Gallery, New York, U.S.A.

Hearts and Rainbows, Jack Hanley, Los Angeles, U.S.A.

Dying Everyday, Canada Gallery, New York, U.S.A.

Recent Drawings, OSP Gallery, Boston, U.S.A.

The Doubloon, Four, Dublin, Ireland

Say When, Wendy Cooper Gallery, Chicago, U.S.A.

Dots Square, Canada Gallery, New York, U.S.A.

Twin Prime, Jack Hanley, San Francisco, U.S.A.

Blue Max, The LAB, San Francisco, U.S.A.

III, Luggage Store, San Francisco, U.S.A.

Into, Yerba Buena Center for the Arts, San Francisco, U.S.A.

Good Luck, Rare Gallery Project Room, New York, U.S.A.

Inn, 151 Gallery, San Francisco, U.S.A.

Hell’s Half Acre, 151 Gallery, San Francisco, U.S.A.

Carry the One, Gallery 16, San Francisco,U.S.A.

Clown Pickles, The Attic, San Francisco, U.S.A.‘Science & Exploration’, Horton Gallery, Chelsea, 16 septembre – 22 octobre 2011

Science & Exploration, Horton Gallery, Chelsea

SOLO

EX

HIB

ITIO

NS

2012

2010

2009

2007

2006

2005

2004

2003

2002

2001

2000

1999

59

The Armory Show 2010

60

Psycho Painting, Carlon Gallery, London, U.K.

Pearl River, Galerie Giti Nourbakhsch, Berlin , Germany

Day to-day, Jose Martos Gallery, New York, U.S.A.

New York Minute, curated by Kathy Grayson, Macro Future, Rome, Italy

Ecstatic Resistance, X Initiative, New York, U.S.A.

Abstract Abstract, Foxy Productions, New York, U.S.A.

GROUP SHOW @ 515 BROADWAY, Martos Gallery, New York, U.S.A.

200597214100022008, Small A Projects, New York, U.S.A.

Constraction, Deitch Projects, New York, U.S.A.

Gallery 16 15 Year Anniversary, Gallery 16 San Francisco, U.S.A.

All is Well, 80 WSE Gallery, New York, U.S.A.

The Show’s So Nice, Monya Rowe Gallery, New York, U.S.A.

Analogous Logic, Brooklyn Fireproof, Brooklyn, U.S.A.

Euphorion, Pierogi, Leipzig, Germany

Crystal Crunch, Perugi Artecontemporanea, Padova, Italy

Bunch Alliance and Dissolve, Contemporary Arts Center, Cincinnati,.

Seriality, Gallery Joe, Philadelphia, U.S.A.

Table Top, Josee Bienvenu, New York, U.S.A.

Grid Lock, Gallery Joe, Philadelphia, U.S.A.

Past Lives and Personal Exorcisms, Blackbird Space, San Francisco, U.S.A.

2011

2010

2009

2008

2007

2006GRO

UP

EXH

IBIT

ION

S

61

Panic Room, Dakis Jannou Collection at Deste Foundation, Athens, Greece

Searching for Love and Fire, David Castillo Contemporary, Miami, U.S.A.

West Coast Windows, Samson Projects, Boston, U.S.A.

Bay Area Now 4, Yerba Buena Center for the Arts, San Francisco, CA, U.S.A.

Nakaochiai Gallery, Tokyo, Japan

Fix Box, RARE Gallery, New York, U.S.A.

Op...ish, Samson Projects, Boston, U.S.A.

Rico/Maresca, New York, U.S.A.

Majority Whip, White Box, New York, U.S.A.

The Big Ballyhoo, The LAB, San Francisco, U.S.A.

Mental Space, Wendy Cooper, Gallery, Madison, U.S.A.

The Bay Area Show, Detroit Contemporary and Tangent Gallery, Detroit,

LTTR Explosion, Art in General, New York, U.S.A.

Spring Group Show at Gallery Joe, Philadelphia, U.S.A.

Works on Paper, RARE, New York, U.S.A.

Dirt Wizard, Brooklyn Fire Proof, Brooklyn, U.S.A.

Close Calls, Marin Headlands Center for the Arts, Sausalito, U.S.A

Hybrid Digital Analogue, San Francisco State University, U.S.A.

MARK: Contemporary Drawings, Gallery 16, San Francsico, U.S.A.

MOVE8 curated by Rich Jacobs, New Image Art, Los Angeles, U.S.A.

2006

2005

2004

GRO

UP

EXH

IBIT

ION

S

CRISSCROSS