El barro como cuerpo, registro y voz

Materia Viva brings together works that engage clay as a living material—one that remembers, responds, and transforms. Shaped by touch, pressure, sound, and time, clay appears throughout the exhibition as body, as record, and as voice.

Rather than treating clay as a passive medium, the works presented here approach it as an active participant in processes of making, listening, and remembering. Clay holds traces of gesture and ritual, bears the imprint of lived experience, and speaks through vibration, resonance, and material presence.

Together, these practices invite viewers to encounter clay as a site of relation: between body and matter, memory and transformation, fragility and endurance.

Bump in the Night is a group exhibition at Collective 62 that summons visions of hedonistic revelry, urban myths, and the creatures that come alive when the city sleeps.

‘Idas y Vueltas’ includes the works of five Miami-based artists examining their connection to their roots, familial, from their country of origin or both, and how these connections show in their work. They delve into the threads that bind them to their homelands and families, as well as to their present time and home.

The Transient, the Tangible, and the Self.

Curated by Melissa Wallen @oilslickrainbow
An exploration of the corporeal, cultural, and technological forces that permeate and shape our
everyday experiences – forces often felt but rarely seen.
The exhibition brings together Roxana Barba, Cynthia Cruz, Brooke Frank, Richard Garet,
Stephanie Hadad, Amanda Linares, and Alexandra Fields O’Neale, whose works navigate
the thresholds between materiality and perception. Spanning mediums including video,
sound, sculpture, and movement, works represent the fragmentation of time, resonance,
and the imprints of memory, each shaping an evolving sense of self within a fluid and
shifting cultural framework.

IMMATERIAL meditates on the tension between the ephemeral and the concrete, revealing the
ways identity and perception are constructed, eroded, and redefined by the mutable conditions
of contemporary life.

Disturbances in the Field assembles the diverse works of nine artists whose processes involve sampling, glitches, noise, static, feedback, forking paths and rogue signals to effectively hitch a ride on the improvisatory forces and wayward pathways that present themselves in contemporary life.

Under our feet lies a Baroque realm Caravaggio would envy, a great drama of poisons and parasites, slime and decay. Fungi, the great molecular decomposers, generate soil that brings back the dead. Life as it turns out, springs from rot, not flowers. Spider webs and termite mounds are just the tip of the dung pile that begets Nature’s underworld. Kinship in nature is not a peaceable kingdom or a pretty storybook. It is chaos and decadence, a worm-eaten, verminous thriving repast, feasting on detritus and ruin.

Gardening builds creation with every plant or wipes it clean away. A leaf blower kills what composting would conceive. Soil is a storage unit full of secrets, seeds waiting for their days in the sun. Our own itty-bitty backyards are a stage for what the world will be if only we’re brave enough to rip out our parents’ barren lawns and risk disarray.

The Wonder Gardens is our testament to the invigorating pleasures of digging in the earth again, a subterranean garden populated by scavengers. Build your monuments to them instead. They are the life force that stuffs your cupboards. These three artists share their love of what lies underfoot, in the ancient recesses of Pan’s lair. Pan is said to have died when people ceased to worship nature and the wild. We must get on our hands and knees and know the earth again. Restore her to her former glory, those buzzing, blooming, decomposing, ambrosial, fragrant gardens of yore. Let it grow wild, let it all grow wild. Then watch the world come back in again, unafraid.

Inhabiting the in-between space, to be everything – and nothing – simultaneously. This is the work of women, artists, and all those who dare to dream outside the boundaries of social constructs. What has been called “women’s work” in American society in the form of textiles and the home’s interior spaces are crucial to survival and yet are taken for granted all in the same breath.

In the art of Laura Marsh, Amy Gelb, and Laura Villarreal we are taken on a journey into these

in-between spaces that become cocoons of serenity, a place to dialogue, and reminisce as we are reminded to share our stories of joy and struggle lest we forget who we are. The artist Ana Mendieta once said, “My art is the way I re-establish the bonds that tie me to the universe.”

In this group exhibition, three artists have come together to explore this idea through the medium of textiles that literally and figuratively tie them to the universe while also exploring how they are tied to one another in this human experience we call life. This human journey is both a delicate and brutal affair punctuated by great joys and piercing sorrows; with long days, but years that seem

to fly by in the blink of an eye. How are we to gain meaningful understanding from such a rollercoaster of an experience?

Perhaps we can look to art and the process of making as both an outward expression and inward meditation that holds the ideas of the maker long enough so that others can share in the experience. The works of Laura Marsh, Amy Gelb, and Laura Villarreal are visually connected not only by literal threads but also by deeper meanings beyond the materiality of their chosen artistic mediums.