BOLD SHAPES

July 16-September 5, 2026

Jessica Silverman is pleased to present “BOLD SHAPES,” a group exhibition featuring work by Teresa Baker, Genesis Belanger, Julie Béna, and Asuka Anastacia Ogawa, on view from July 16 to September 5, 2026. The works in this exhibition are all bold in their clarity of conviction. They are merrily declarative; they are what they are.

INSTALLATION VIEW

GALLERY / GRID

SELECTED WORKS

Asuka Anastacia Ogawa
Moon, 2026
Acrylic paint on canvas
80 x 86 x 1 1/2 inches / 203.2 x 218.4 x 3.8 cm

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Asuka Anastacia Ogawa
Lele and Flower, 2026
Acrylic on canvas
24 x 30 x 1 1/2 inches / 61 x 76.2 x 3.8 cm

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Two paintings by Asuka Anastacia Ogawa move between portraiture, mythology, and dream, but they do so with the confidence of works that have already made up their minds. Her unpretentious forms don't hedge — the figures read as people and as archetypes simultaneously, without apology for the doubling. In Lele and Flower (2026), a hand holds a flower upside down over a reclining head: part offering, part operation. Moon (2026) stages an intimate encounter between two figures reaching for one another, shadowed by a pair of spirits — a fantastic scenario that holds its ground with quiet directness.

Genesis Belanger
Modest Splash, 2026
Stoneware and porcelain
40 1/4 x 19 1/2 x 17 1/2 inches / 102.2 x 49.5 x 44.5 cm

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Genesis Belanger's stoneware and porcelain sculptures arrest fleeting moments, and in doing so, make them impossible to leave behind. Modest Splash (2026) is a life-sized pedestal sink in unglazed stoneware, built around a single, declarative event: a splash, rendered in pale celadon-pigmented clay, frozen mid-motion in the basin. The form is forthright. What should vanish in an instant is held open indefinitely — made permanent, made bold, made strange by the sheer fact of its frank insistence.

Teresa Baker
The Clock Sings, 2026
Acrylic, willow, artificial sinew, and yarn on artificial turf
48 x 37 inches / 121.9 x 94 cm

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Teresa Baker
All Is Quickness, 2026
Acrylic, willow, artificial sinew, buckskin, and yarn on artificial turf
85 x 77 inches / 215.9 x 195.6 cm

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Teresa Baker constructs colorful, dynamic compositions on AstroTurf, using paint, wool, wood, and animal pelts. At more than seven feet tall, All Is Quickness (2026) is an expansive field of electric-blue turf, its surface built from acrylic, willow, artificial sinew, buckskin, and yarn. Her arcing lines, skewed geometries, and biomorphic forms assert a singular vision for the aptitudes of abstraction. In the darker, more compressed The Clock Sings (2026), thick pieces of willow cross the deep green surface at sharp angles, with strands of multicolored yarn cutting between them. Nothing here is tentative. Baker's paintings offer experiences of orientation, as if to inform the viewer that they are “here.”

Julie Bena
Destiny, 2015
Stainless steel, glass, vinyl
71 5/8 x 82 5/8 inches / 182 x 210 cm

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Drawing on stage design, Julie Béna’s sculptures often transform their environment. Destiny (2015), a sculpture composed of two glass panels joined by three brushed-steel columns, serves as a translucent room divider. The middle column doubles as a lamp, or beacon. Seven black letters float on the glass, spelling various words such as “edit,” “nest,” “send,” “sin,” “dine,” “deity,” “density,” “yeti” and, of course, the work’s title “destiny.” The effect is one in which the words seem to roam the room, and so their meanings proliferate.