Jessica Silverman
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Her Dark Materials
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Her Dark Materials

Her Dark Materials

September 11-October 25, 2025

Jessica Silverman is pleased to present “Her Dark Materials,” a group exhibition featuring artists whose innovative approaches to their chosen media—clay, wood, oil, pastels—enchant the eye and tease the mind. Ann Agee, Rebecca Manson, Sarah Meyohas, GaHee Park, and Alison Elizabeth Taylor transform landscapes, portraits, and still lives into wonderlands with thought-provoking perspectives. Minutiae like petals and butterfly wings swell to monumental proportions while inventive compositions play with the distinctions between inside and outside. Augmenting our visceral understanding of the physical world, the works investigate sensuality and tactility. The exhibition runs September 11 – October 25.

The works in “Her Dark Materials” play with our expectations around matter and what matters. They create a debate about the relationships between the physical and the metaphysical.

 

INSTALLATION VIEW
SELECTED WORKS
ARTIST BIO
OTHER EXHIBITIONS

INSTALLATION VIEW

Installation View Installation View Installation View Installation View Installation View

SELECTED WORKS

GaHee Park
Rest in Bloom, 2025
Oil on canvas
15 x 18 inches / 38.1 x 45.7 cm
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GaHee Park, Rest in Bloom
GaHee Park
Back to Mountain, 2025
Oil on canvas
60 x 46 inches / 152.4 x 116.8 cm
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GaHee Park, Back to Mountain
In her oil paintings, GaHee Park creates dreamy, symbolic spaces that witness irrational relationships between stylized characters. Inspired by the cubism of Fernand Léger and the proto-surrealism of Henri Rousseau, Back to Mountain (2025) stages an awkward embrace between a woman and her cool mountainous shadow. The figures sit before a table with open scissors, decapitated tulips, and biomorphic peaches. A spider crawls along her arm. Combining genres, the work is a portrait, a landscape, and a vanitas still life, which explore doubling, desire, and self-possession.
Alison Elizabeth Taylor
Gods and Monsters, 2025
Marquetry hybrid: wood veneer, shellac, acrylic, sawdust, glitter, and mica
36 x 26 inches / 91.4 x 66 cm
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Alison Elizabeth Taylor, Gods and Monsters
Alison Elizabeth Taylor
Rainbow Fluorite and Bishop’s Cap, 2025
Marquetry hybrid: wood veneer, shellac, acrylic, oil paint, sawdust, glitter, and mica
25 x 33 inches / 63.5 x 83.8 cm
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Alison Elizabeth Taylor, Rainbow Fluorite and Bishop’s Cap
Alison Elizabeth Taylor
Constructing Self Serving Narratives to Avoid Uncomfortable Truths, 2025
Marquetry hybrid: wood veneer, shellac, and oil paint
55 x 58 inches / 139.7 x 147.3 cm
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Alison Elizabeth Taylor, Constructing Self Serving Narratives to Avoid Uncomfortable Truths
Alison Elizabeth Taylor
Gods and Monsters, 2025
Marquetry hybrid: wood veneer, shellac, acrylic, sawdust, glitter, and mica
36 x 26 inches / 91.4 x 66 cm
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Alison Elizabeth Taylor, Gods and Monsters
Alison Elizabeth Taylor
Rainbow Fluorite and Bishop’s Cap, 2025
Marquetry hybrid: wood veneer, shellac, acrylic, oil paint, sawdust, glitter, and mica
25 x 33 inches / 63.5 x 83.8 cm
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Alison Elizabeth Taylor, Rainbow Fluorite and Bishop’s Cap
Alison Elizabeth Taylor
Constructing Self Serving Narratives to Avoid Uncomfortable Truths, 2025
Marquetry hybrid: wood veneer, shellac, and oil paint
55 x 58 inches / 139.7 x 147.3 cm
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Alison Elizabeth Taylor, Constructing Self Serving Narratives to Avoid Uncomfortable Truths
Combining inlaid wood marquetry with oil painting, Alison Elizabeth Taylor’s three unique tableaux depict subject matter related to the American Southwest. In Constructing Self-Serving Narratives to Avoid Uncomfortable Truths (2025), a virtuoso arrangement of diverse woodgrains represents a cave with an eye-shaped view of the skyline of Las Vegas, a city known for its artifice, if not its extreme alienation from natural ecologies. The plunging perspective of the picture is not just one of distant space, but deep time, as if the viewer were a prehistoric cave-dweller spying on the strange world of the 21st century.
Rebecca Manson
Luna in Shadow, 2025
Porcelain, glaze, adhesives, canvas, hardware
64 x 48 inches / 162.6 x 121.9 cm
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Rebecca Manson, Luna in Shadow
Rebecca Manson
Emerging Monarch, 2025
Porcelain, glaze, adhesives, canvas, hardware
43 x 24 inches / 109.2 x 61 cm
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Rebecca Manson, Emerging Monarch
Building her forms from thousands of tiny, glazed porcelain pieces, Rebecca Manson plays with scale and texture to create puzzling wall works that confound the senses. She transmutes the diaphanous wings of butterflies into solid sculptures, turning the tiny into the monumental, the translucent into the opaque, and the yielding into the brittle. Attached to a canvas that seems to be falling off the wall, Emerging Monarch (2025) depicts the droopy wet wings of a newborn butterfly; it has emerged from its chrysalis but has yet to fly. The ceramic wall work encourages us to engage with the beauty and fragility of change.
Ann Agee
Green Pleated Skirt Madonna, 2025
Glaze, slip, and felt on earthenware
28 x 10 x 12 1/2 inches / 71.1 x 25.4 x 31.8 cm
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Ann Agee, Green Pleated Skirt Madonna
Ann Agee
Baby Blue Madonna, 2025
Ceramic stained porcelain, felt
21 x 13 x 14 inches / 30.5 x 33 x 35.6 cm
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Ann Agee, Baby Blue Madonna
Ann Agee
Red Hot Hands on Hips, Madonna, 2025
Colored slip on stoneware, cardboard, acrylic, felt
32 1/2 x 18 1/2 x 15 3/4 inches / 82.5 x 47 x 40 cm
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Ann Agee, Red Hot Hands on Hips, Madonna
Ann Agee
Green Pleated Skirt Madonna, 2025
Glaze, slip, and felt on earthenware
28 x 10 x 12 1/2 inches / 71.1 x 25.4 x 31.8 cm
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Ann Agee, Green Pleated Skirt Madonna
Ann Agee
Baby Blue Madonna, 2025
Ceramic stained porcelain, felt
21 x 13 x 14 inches / 30.5 x 33 x 35.6 cm
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Ann Agee, Baby Blue Madonna
Ann Agee
Red Hot Hands on Hips, Madonna, 2025
Colored slip on stoneware, cardboard, acrylic, felt
32 1/2 x 18 1/2 x 15 3/4 inches / 82.5 x 47 x 40 cm
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Ann Agee, Red Hot Hands on Hips, Madonna
Ann Agee’s ceramic figures recast the traditional subject matter of Madonna and Child using slabs of clay that are so full of dynamic movement that they evoke claymation. Her interpretations of the Christian icon depict the child as a girl with playful poses inspired by 18th-century porcelain figurines. In Red Hot Hands on Hips, Madonna (2025), the maternal figure sports a ponytail, flip-flops, bell-bottom trousers, and a real cardboard hat. In Baby Blue Madonna (2025), she leans back in gleeful abandon while the child dances off her hip. Agee’s trompe l’oeil ceramics don’t just play tricks with our expectations about materials; they challenge our assumptions about value and authenticity.
Sarah Meyohas
Hands with Flowers, 2024
Pastel on paper
39 3/4 x 54 inches / 101 x 137.2 cm
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Sarah Meyohas, Hands with Flowers
Sarah Meyohas
Poppy Adrift, 2025
Pastel on paper
54 x 39 3/4 inches / 137.2 x 101 cm
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Sarah Meyohas, Poppy Adrift
Sarah Meyohas's paintings on paper feel intimate and hand-crafted despite being rendered by a machine. The artist designed a robotic plotter to work with pastel, deconstructing light in the vivid manner of the impressionists and pointillists. In Poppy Adrift (2025), soft discrete marks blend into a single blossom with paper-like petals. Behind it, glistening waves of teal, blue, and purple are both airy and watery, suggesting that the real world is immaterial.
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