WANAFOTO: Tayloe Piggott Gallery

Showing posts with label Tayloe Piggott Gallery. Show all posts

13/01/24

Stephen Talasnik @ Tayloe Piggott Gallery, Jackson Hole - "Otherworldly: Select Drawings" Exhibition

Stephen Talasnik

Otherworldly: Select Drawings

Tayloe Piggott Gallery, Jackson Hole

14 December 2023 – 4 February 2024

Stephen Talasnik

Journal of Memory, 2023

Graphite on paper, 15 ½ x 58 ½ inches

Stephen Talasnik

Savant, 2013

Graphite on paper, 70 x 48 inches

Stephen Talasnik

Elusive Figure #1, 2022-2023

Graphite and ink on paper, 30 x 22 inches

TAYLOE PIGGOTT GALLERY presents Otherworldly: Select Drawings, its first solo exhibition featuring drawings by New York-based artist Stephen Talasnik.

Featuring a substantive selection of black and white drawings spanning the last twenty-plus years of his career, this exhibition explores the pictorial achievements of an artist who has pushed technical drawing beyond mark making to an experience with, as Lebbeus Woods noted, “this power to fascinate, confound, and reveal.” Through Stephen Talasnik’s hand we experience an adventure into an imagined world at the intersection of drawing and building.

Stephen Talasnik’s drawings explore otherworldly landscape and objects that evoke childhood memories. “If there was ever a moment of divine inspiration, it would be the instance I saw the General Motors’ Futurama exhibition and the Panorama of the City of New York at the 1964 Fair,” said Talasnik. “A lifelong obsession with visionary architecture was established at the Fair and I started doing drawings and sculptures of future cities after wandering through the Pavilions.”

Originally from Philadelphia, Stephen Talasnik grew up in an urban neighborhood surrounded by oil refineries, a shipyard, a helicopter factory, and an airport, immersing him in the aesthetics of industrial building. He lived in a house that bordered a local creek, providing him an opportunity to unearth the past as he searched for fossils imbued with fictional narratives. He turned these experiences into a world explored through drawing with pencil and building complex structures from wood.

Stephen Talasnik has spent the better part of sixty years inventing the past and envisioning and documenting the future. His work is informed by time travel and myth-making, intrigued with the infrastructure of the urban environment. The work is, as the title of the exhibition indicates, otherworldly, suggesting a moment in time without providing absolute coordinates. Often defined as “Fictional Engineering”, he uses no system of measurement, relying on the aesthetics of intuition and invention.

Working in his Brooklyn studio and ever informed by intuitive engineering and the human form, Stephen Talasnik continues to explore the unlimited capacity of the fictional object and landscape. Seduced by a visionary’s mantra, he relies on his personal encyclopedia of experience to define an imagined world that explores the visual capacity of a self-defined beauty. Archeological in nature, the viewer is invited to examine a personalized lexicon; extracting clues but challenged to determine specific identity. Employing pencil or wood, Stephen Talasnik’s works must always suggest the unfinished yet complete.

Stephen Talasnik attended the Rhode Island School of Design (BFA) where he studied Black and White theory with photographers Aaron Siskind and Harry Callahan, who nurtured his passion for drawing. His graduate studies took him to Rome with the Tyler School of Art (MFA) where he drew both the human form and architecture from the Classical environment. After completing his formal studies, Stephen Talasnik moved to Tokyo where he spent three years. It was in Tokyo that a fascination with hand building re-emerged after studying the art of bamboo construction. Following his time in Japan, Stephen Talasnik spent ten years traveling through Asia, all while commuting to his studio in New York City. These seminal experiences inform Stephen Talasnik’s obsession with drawing and building landscapes and objects that defy time or place.

In 2010, Stephen Talasnik ventured into the world of land art, and has completed major installations at the Storm King Art Center (NY); the Tippet Rise Art Center (MO); the Denver Botanic Garden (CO); the Russel Wright Design Center (NY); and Architektur Galerie Berlin. Stephen Talasnik has maintained ongoing studio investigations while exhibiting internationally. His work has been acquired by the Metropolitan Museum of Art (NY); the Albertina (Vienna); the British Museum (London); the National Gallery of Art (DC); the Pompidou Centre (Paris); and the Whitney Museum (NY) among others. Stephen Talasnik lives and works in Brooklyn, NY.

TAYLOE PIGGOTT GALLERY

62 South Glenwood Street, Jackson, WY 83001

www.tayloepiggottgallery.com

21/12/23

Artist Travis Walker @ Tayloe Piggott Gallery West, Wilson - "Right at Home" Exhibition

Travis Walker: Right at Home

Tayloe Piggott Gallery West, Wilson

22 December 2023 - 21 January 2024

Tayloe Piggott Gallery presents Right at Home an exhibition of paintings by local artist Travis Walker. This is the gallery's first exhibition at its additional space on the west side of Jackson Hole town- 3465 North Pines Way, Wilson, Wyoming.

Travis Walker questions the notion of America and what it means to be American by portraying the shared but often separate experiences of the iconic American western landscape. Ever-considering how this vast landscape shapes and frames American culture, Walker observes the world changing around him and eternalizes these moments through painting, drawing, and printmaking. Following in the footsteps of American regionalists Edward Hopper, Grant Wood, and Maynard Dixon, Walker embeds a profound sense of place and culture in each work he creates. In doing so, he captures the timeless, playful, and often juxtaposed spirit of different regions across the United States, most often in the American West.

Travis Walker is drawn to places and images that feel timeless, as if somehow caught between eras. Inspired by both nature and other objects of culture, such as film and comic books, Walker often blends found imagery with his observation of the western landscape. In these acts of autofiction, Walker creates his own, often surreal, scenes in which the familiar often becomes somewhat estranged—a bricolage of what Walker has seen, felt, and imagined. In creating his compositions, Walker also turns to cinema for inspiration. He studies the angles and perspectives the cinematographer or director has chosen. On occasion, Travis Walker says, he even lifts characters from the silver screen and transplants them into a Jackson landscape.

Travis Walker often works on location in Jackson Hole, capturing the seemingly mundane, quiet scenes of an old western town at a critical juncture. In Walker’s works, these places feel empty yet still inviting, as Walker’s colors create a near-dreamlike quality. By reducing the intricacies of peaks and crevices, solitary doorways, and deserted streets, Walker clears the way for a new kind of narrative—one that exchanges pioneers in covered wagons and romanticized cowboys for travelers in recreational vehicles. Using a style reminiscent of Hopper—a regionalist as well as a modernist who depicted the isolation of progress—Walker, too, evokes the voices of those left behind to document the convoluted pathways to tomorrow. “A lot of my work has to do with America,” Travis Walker says. “I love the West, and I love the land. I moved out here following a dream, and every day I think about the landscape here, what direction I want to go.”

TRAVIS WALKER was born in Tokyo, Japan, and grew up as an Air Force brat whose nomadic childhood was filled with comic books, science fiction, and drawing. After graduating with a degree in Painting and Printmaking at Virginia Commonwealth University, the allure of the western landscape drew him to the valley of Jackson Hole, Wyoming, where he has lived and worked for nearly 20 years, blending contemporary landscape painting with the fictional worlds of his past. Walker was a 2013 panelist for the National Endowment for the Arts' Artists Communities Grant. He was a 2013 Artist in Residence at the National Museum of Wildlife Art, and in 2012, he won the "Rising Star Award" from the Cultural Council of Jackson Hole. His work has been featured in SouthWest Art Magazine, Big Sky Journal, Mountain Living, Forbes, and The Guardian. He is the founder of the nonprofit Teton Artlab, an Artist In Residence program based in Jackson Hole.

TAYLOE PIGGOTT GALLERY WEST

3465 North Pines Way, Wilson, 83014 Wyoming

www.tayloepiggottgallery.com

17/12/23

Julia Bland @ Tayloe Piggott Gallery, Jackson Hole - "Embers" Exhibition

Julia Bland: Embers

Tayloe Piggott Gallery, Jackson Hole

14 December 2023 – 4 February 2024

JULIA BLAND

Long Alliance, 2023

Oil and burnt canvas on panel, 32 x 32 inches

JULIA BLAND

High Moon, 2022

Linen, cotton, and wool threads, canvas,

fabric dye, oil paint, 95 x 57 inches

JULIA BLAND

Love In The Endless Night, 2020

Hand-woven linen and wool textile,

hand dyed linen, linen and wool threads,

hand dyed blanket, wax, oil paint, 111 x 136 inches

TAYLOE PIGGOTT GALLERY presents Embers, a solo exhibition of work by artist JULIA BLAND.

Julia Bland makes artworks that exist somewhere in the space between painting, sculpture, and tapestry. Her experimental process incorporates stitching, weaving, knotting, dying, and even burning her materials, creating sublime abstractions of geometric compositions. This exhibition, Julia Bland’s first at Tayloe Piggott Gallery, also features oil and canvas collages, as well as Bland’s drawings, which help her think through her ideas, functioning as a kind of map with different marks indicating the process or material she intends to engage. A digital catalog accompanies this exhibition with an essay by Glenn Adamson, which is excerpted below.

Early in Julia Bland’s career, after training as a painter at Rhode Island School of Design and before learning to weave, she spent time in Morocco, where she studied Islamic art and Sufism. As Glenn Adamson writes, “She absorbed the dense concentrations of pattern in people’s homes there, and for a time apprenticed herself to a carver of intricately decorated wooden doors. This saturation in craft reinforced experiences she’d had growing up in Palo Alto, California, where she had her first exposures to art through family friends who probably would qualify as flower children. One of them taught her how to make jewelry, and another gave her a loom that she still uses today.” Julia Bland incorporates her loom as one of many tools—alongside her trusty scissors, and, of course, her hands—to transform fabric into a transporting tableau. Julia Bland’s experience in Morocco has embedded itself in her work, which often contains intricate geometric patterns that recall ornate Islamic architecture and images of snakes, a sign of death and rebirth in Sufism. Other forms in her paint-tapestry hybrids, meanwhile, resemble the suspension bridges of New York—a reminder that majesty can come from the spiritual world, the natural world, and the urban world all the same.

Glenn Adamson observes, “The total effect is electrifying. Standing before the immense wall hanging, you are enmeshed in the internal oscillations of its “active surface” (to borrow a term from Op Art). The composition, while essentially symmetrical, is laced with tactical misalignments. Colors are usually reflected from one side to the other, but here and there, they shift unexpectedly. The work has the dynamic balance of a yin yang symbol, as if seen through a kaleidoscope.” Hints of familiar objects emerge through the layers of fabric and yarn. Adamson continues, “These multiple, elusive images are compacted within the pictorial field, much like the numerals in Jasper Johns’ celebrated 0 Through 9 series: a palimpsest of layers, with none taking precedence.”

Allusions to her process and remnants of her materials are always present in Julia Bland’s work. She observes that these vestiges “give you information about how the work came together. There are the technical and formal aspects of the technique, and then there is the social naming of it.” As Adamson observes, “Craft is typically encountered either as culturally-encoded, perhaps folkish, perhaps kitschy; conversely, it may be seen as a culturally-neutral modus operandi, simply a way of arriving at form. Julia Bland refuses this false opposition. When she uses a technique, she takes on its full range of association and potential, absorbing it whole. This is the impulse that drives her practice forward.”

JULIA BAND was born in Palo Alto, CA in 1986. She received her BFA from Rhode Island School of Design in 2008 and received her MFA from The Yale School of Art in 2012. She has been an artist in residence at The MacDowell Colony, Yaddo, The Skowhegan School of Painting and Sculpture, Lighthouse Works, The Sharpe-Walentas Space Program, and The Shandaken Project: Storm King. She has received awards including The Milton and Sally Avery Fellowship from Yaddo, The Carol Scholsberg Memorial Prize, NYFA/NYSCA fellowship in Craft/Sculpture, The Florence Leif Award for Excellence in Painting, and the Natasha And Jacques Gelman Travel Fellowship. Recent solo exhibitions include Derek Eller Gallery, New York, NY; Andrew Rafacz Gallery, Chicago, IL; Camille Obering Fine Art, Jackson, WY; The Lighthouse Works, Fisher’s Island, NY; Helena Anrather, New York, NY; and On Stellar Rays; New York, NY. Recent group exhibitions include The Everson Museum, Syracuse, NY; John Michael Kohler Art Center, Sheboygan, WI; Chambers Fine Art, Beijing, China; and Yossi Milo Gallery, New York, NY. She has been reviewed or featured in many publications, including The New York Times, Mousse Magazine, and The Brooklyn Rail. Julia Bland lives and works in Brooklyn, NY.

TAYLOE PIGGOTT GALLERY

62 South Glenwood Street, Jackson Hole, WY 83001

www.tayloepiggottgallery.com

09/12/23

Olive Ayhens @ Tayloe Piggott Gallery, Jackson Hole - "Secrets in Place" Exhibition

Olive Ayhens: Secrets in Place

Tayloe Piggott Gallery, Jackson Hole

14 December 2023 – 4 February 2024

OLIVE AYHENS

Yellowstone, 1994

Oil on canvas, 36 x 50 inches

OLIVE AYHENS

Bejeweling the Massif, 2009

Oil on linen, 30 ½ x 40 inches

OLIVE AYHENS

Outskirts of Roswell, 2014

Oil on canvas, 44 x 52 inches

TAYLOE PIGGOTT GALLERY presents Secrets in Place, a solo exhibition of work by artist OLIVE AYHENS.

Secrets in Place, Olive Ayhens’s first exhibition at Tayloe Piggott Gallery, presents a selection of oil paintings and ink and watercolor works from the mid-1990s to the present. For the past forty years, Olive Ayhens has focused much of her practice on the creation of environmental allegories, each as whimsical as they are catastrophic, which fuse antithetical and imaginary worlds into "jumbled panoramas,” according to Hyperallergic's Stephen Maine. Her inventive contemporary landscapes amalgamate nature and man-made environments, creating implausible realms of juxtaposed skyscrapers perched on cliffsides on Northern California, as seen in Bejeweling the Massif (2009), or bustling traffic in a remote desert, as seen in Outskirts of Roswell (2014). Critic Jerry Saltz has described Olive Ayhens’s work as “intertwining postapocalyptic narratives and prelapsarian bliss… Part Bosch, part Coney Island of the mind’s eye, these works place us inside scenes of destruction as curious gods look into and down on widening worlds.”

Simultaneously collapsing and expanding, corkscrewing and unraveling, Olive Ayhens’s compositions evolve more or less autobiographically, taking from the many places where she has spent time, especially through the numerous residencies she has been awarded throughout her career. Olive Ayhens strives to capture an essence of each place she composes, reconceptualizing, distorting, and rebuilding these places from her memory, her subconscious and, most importantly, from her imagination. Olive Ayhens has taken care to deeply absorb the places she has spent time, as even her works featuring fragmented and amalgamated loci impart a profound and idiosyncratic sense of place. Her warping of space and place often imbues potent environmental implications into her works. Even so, in Olive Ayhens’s creations, as The New Yorker's Andrea K. Scott articulates, "whimsy tends to outstrip dread.”

Yellowstone (1994), The Torrent of Venus (1995) and Wyoming Toad (2010) reflect Olive Ayhens’s time spent in the American West teaching and participating in artists residencies, where she was moved by the monumental scale of nature in the Rocky Mountain region and the wondrous natural features that define it. Though the urbane does not creep into these works, each presents space in Olive Ayhens’s signature state of panoramic distortion that plays on the scale of the American West’s seemingly endless expanse. These works still offer moments of caprice, as in The Torrent of Venus, which features a spectral red petroglyph of a nude woman (“She is me,” Olive Ayhens reveals). The works of Secrets in Place span almost thirty years of Olive Ayhens’s career, and are united in their play on spatial organization and scale, as Olive Ayhens compresses and stretches uncanny realms into fantastical visions of improbable places.

Olive Ayhens upholds that her work is grounded in abstraction. She embraces the language and aesthetics of abstract painting in her focus on exploring color relationships, texture, scale, and the compression and expansion of space. Above all, Olive Ayhens is driven by her “love of the paint itself- with layering it, with building textures, et cetera.” Olive Ayhens has long been praised for her willingness to allow realism to dissolve into pure abstraction in her color-rich, kaleidoscopic works in which linear perspective is not utilized to anchor space, but rather to destabilize it.

OLIVE AYHENS was born in Oakland, California, and received both her BFA and her MFA from the San Francisco Art Institute. She has exhibited her work widely throughout the United States and internationally. Olive Ayhens has been the recipient of numerous awards and grants, including the Joan Mitchell Foundation Painters & Sculptors Grant, the John Simon Guggenheim Memorial Foundation Fellowship, the Pollock Krasner Foundation Award, and the Adolph and Esther Gottlieb Foundation Individual Support Grant. She has completed residencies at Ucross, the Walsh Sharpe Art Foundation Space Program, MacDowell Colony, Fundación Valparaiso, the Salzburg Kunsterhaus, Yaddo Artist Residency, Djerassi Artist Residency, the Virginia Center for the Creative Arts, the Roswell Artist Residency, the Lower Manhattan Cultural Council, the Sharpe-Walentas Studio Program, and at Schwandorf International, Bavaria. Today, Olive Ayhens lives and works in New York City.

TAYLOE PIGGOTT GALLERY

62 South Glenwood Street, Jackson Hole, WY 83001

www.tayloepiggottgallery.com

25/10/23

Troy Passey @ Tayloe Piggott Gallery, Jackson Hole - Take This Longing

Troy Passey: Take This Longing

Tayloe Piggott Gallery, Jackson Hole

October 27 - December 3, 2023

TROY PASSEY

Remember, 2022

Graphite and acrylic on Bristol Vellum, 24 x 19 inches

TROY PASSEY

Take This Longing From My Tongue - Leonard Cohen II, 2019

Ink, ink wash, and acrylic on Neutech 25% cotton paper, 35 x 23 inches

TROY PASSEY

Beautawful

Neon, metal support, 9 ½ x 22 x 5 ½ inches

TAYLOE PIGGOTT GALLERY presents Take This Longing, an exhibition of works by Boise-based artist TROY PASSEY.

Troy Passey is an interdisciplinary artist who merges idea and image in his text-based visual art. Take This Longing borrows its title from a Leonard Cohen song of the same name, and presents a selection of works on paper and neon light sculpture. These conceptual works are created through thoughtful, minimalist, and elemental compositions that utilize words as a visual–in addition to a written–language. In Troy Passey’s art, words operate in many ways; some become figurative, emerging as horizon lines or objects themselves, while others playfully name, or intuitively explain and narrate the objects drawn by Troy Passey.

Troy Passey grew up on a farm outside of Paris, Idaho, and was avid reader never without a pen or paper in his pocket. In these early years, he religiously jotted down quotes and ideas, ever-gathering what would later become his primary medium. Troy Passey always wanted to be a writer, but “would never call [himself] a writer because it was way too precious.” While studying English in college, Troy Passey also delved into art history and, later, when writing his master’s thesis on Andy Warhol, he came across words by Warhol which shifted the course of his career. “He said something that changed my life; he said, ‘People are often better at their second love than they are at their first love because you’re way too close to your first love, but, with your second love, you have some distance,’ so I changed my paradigm and called myself an artist.” His childhood habit of collecting texts, thoughts and words, and his appreciation of poetry and prose, unintentionally had been the consummate preparation for what would become his life’s work. Even today, this habit of second nature has become an integral part of Troy Passey’s artistic practice, as he continues to record the words and phrases that he encounters on a daily basis.

Although most often based on the scholarship of past writers, Troy Passey’s works are as physical and emotional as they are cerebral. A self-proclaimed “anti-calligrapher”, Troy Passey does not expect viewers to read the entirety of words he uses to build his works (which are often repetitions marked with an intensity that approaches asemic writing); rather, he hopes the works as a whole speak to people on an intuitive, elemental level, and considers the titles of the works to be the real texts to be read, crediting writers ranging from Emily Dickinson to Leonard Cohen, from Rainer Maria Rilke to Robert Frost, to The Cure. When speaking of his own work and life, Troy Passey yet turns to the words of others. “My work is not autobiographical, rather it is more reportage of the human condition. It’s kind of weird; the neon work is some of my most personal work in a way. Like “Beautawful” is almost like a Rosetta Stone for me. Joni Mitchell said, ‘Laughing and crying, you know it’s the same release,’ and I hope that my art is about that. That the world is really amazing and beautiful, but it can be awful too. You have to accept both.”

Today, Troy Passey lives, teaches, and works in Boise, Idaho. He attended Utah State University as an English major, with a minor in art history. In 1997, he graduated from Boise State University where he received master's in English. Troy Passey's art has been included in four Idaho Triennials. He was a recipient of an Idaho Commission on the Arts Fellowship, as well as an inaugural Artist in Residence, at the James Castle House in Boise, ID. Troy Passey has had numerous solo exhibitions throughout the American West, including at the Boise Art Museum, Boise, ID; Tayloe Piggott Gallery, Jackson, WY; Boise Contemporary Theater, Boise, ID; Herrett Center, Twin Falls, ID; Eagle Performing Arts Center, Eagle, ID; Sun Valley Center for the Arts, Ketchum, ID; and the Ogle Gallery, Portland, OR. His work has also been shown in group shows in Jackson Hole, Los Angeles, Boise, Ketchum, Houston, Dallas, Chicago, and Miami, among other locations. In 2023, Troy Passey completed Is Where the Angels Are, four site-specific memorials to those lost during Covid-19 at St Alphonsus Medical Centers located in Boise, ID; Nampa, ID; Ontario, OR; and Baker City, OR. He also completed KITH & KIN, a collection of sculptures at the James Castle House.

TAYLOE PIGGOTT GALLERY

62 South Glenwood Street, Jackson Hole,WY 83001

www.tayloepiggottgallery.com

15/11/22

Susanne Johansson @ Tayloe Piggott Gallery, Jackson Hole, WY - A Certain Kind of Stillness

Susanne Johansson

A Certain Kind of Stillness

Tayloe Piggott Gallery, Jackson Hole, WY

November 3 - December 4, 2022

Tayloe Piggott Gallery presents A Certain Kind of Stillness, a solo exhibition of work by Swedish painter SUSANNE JOHANSSON.

A Certain Kind of Stillness presents a selection of wooded paintings large and small that hold a mirror up to ourselves as viewers, circumventing our conscious reality and replacing each of us as temporal beings in nature. Each painting feels like a different dreamscape one can enter, exist within, and experience individually.

Susanne Johansson, in her poetic voice, both in paint and with words, urges the viewer to find the stillness to enter this subconscious world of nature, where we are mere visitors in the realm of animals, insects, and trees:

I find a certain kind of stillness in the encounter with the overlooked and simple. In the things we rarely give a greater meaning I find a sense of home:
The backlight on a September day when I recognize the thistles and the field scabious in the fields of Uppland.
A microcosmos that is a stump of an oak tree.
In the lowlands of Färnebofjärden a new synthesis of colors has been formed due to the light, the tree trunks, the earth and the leaves.
The many layers of time in a large oak tree that has become one with the surrounding landscape.
Behind everything and within all the knowledge that everything is temporary.
Among the dry leaves and grass, a quiet day in October, I sense a presence that is greater than our individual light.

The repeated theme of a solitary figure immersed –engulfed, even—in a woodland places Susanne Johansson apart from the human-centered landscape one finds throughout art history (e.g. Caspar David Friedrich, Edward Hopper, Camille Corot). That feeling of a figure hidden, nearly imperceptible but not quite one with the forest, references fond memories from the artist’s childhood in a rural community in northern Sweden. Growing up spending time in the woods was an experience of total freedom. Hunting with her father or exploring with her brother and sister, “I was never scared,” she says, of the wild animals in the landscape. “Yet somehow, we always felt as though we were visitors in someone else’s space. Like when we were walking in the forest picking berries, and the great grey owl came. You know, don’t come too close.” She explains further, “The landscape wasn’t mine. The land belonged to the red robin in the tree. It’s almost a celebration of that feeling of being close to something but not.” Johansson’s landscape is one you may enter, and explore, but perhaps not fully embody.

Susanne Johansson

A Certain Kind of Stillness

Exhibition Catalogue, 2022

Published by Tayloe Piggott Gallery, Jackson Hole, Wyoming

SUSANNE JOHANSSON was born 1969 in Stråkanäs in the north of Sweden and now lives in Uppsala, Sweden. She was educated at the Royal University College of Fine Arts in Stockholm (1992–1997). Selected exhibitions include: Signs of Time, Turn Gallery, in the Parlour room, New York, USA (2022), Galleri Magnus Karlsson, Stockholm, Sweden (2022, 2015, 2012, 2009, 2007, 2004, 2002 & 1999), Fullersta Gård, Huddinge, Sweden (2019), Uppsala Art Museum, Sweden (2018), Trafo Kunsthal, Norway (2018), Galleri Ping-Pong, Malmö, Sweden (2018), Galleri Magnus Karlsson, Stockholm, Sweden, w. Johanna Karlsson and Petra Lindholm (2017), Hellvi Kännungs, Gotland, Sweden (2014), Volta NY, New York, US, Fred [London] (2011), Fred [London], UK (2010), Konsthallen/Kulturens Hus, Luleå, Sweden (2007), D’Ombra/The Shadow, Palazzo de Papesse, Centro Arte Contemporanea, Siena and MAN/Nuoro, Italy (2006-2007), Feigen Contemporary New York, US (2006), Galeria Monica De Cardenas, Milano, Italy (2005), Prague Biennale 2, Czech Republic (2005), M’ars Center for Contemporary Art, Moscow, Russia (2005).

TAYLOE PIGGOTT GALLERY

62 South Glenwood Street, Jackson Hole, WY 83001

www.tayloepiggottgallery.com