Exhibition: Seeing Is Believing

Amos Eno Gallery, a non-profit, artist-run gallery in Bushwick, Brooklyn, is pleased to present Seeing Is Believing, a group exhibition of work by 17 of the gallery's artists, on view from September 5 to October 6, 2024. The exhibition will also be on view at Artsy.net.

Curated by gallery director Ellen Sturm Niz, the dynamic exhibition features a diverse range of artworks, including:

• Tulu Bayar: Conjured up a Fact, an etched archival pigment print honoring the memory of innocent Susquehannock Indians killed in 1763.
• Damien Olsen Berdichevsky: All Under a Cloudy Sky, a mixed media assemblage representing a post-industrial environment in regeneration.
• Adam Erlbaum: Tetris Shapes, an oil on canvas piece juxtaposing a paisley pattern with Tetris shapes for a visual punch.
• James Horner: Hot Pants Magoo, a mixed media piece aiming to normalize the LGBTQ+ community through everyday depictions.
• Grant Johnson: HAYSTACKS (Infrared Light), a dye sublimation print on aluminum panel inspired by Monet's Haystacks but illuminated by infrared light.
• Sam Jones: Threshold, a 60-second video installation of a glowing sun reflecting off an undulating body of water — the threshold continually opening itself to the wandering eye of the stranger. 
• Charleen Kavleski: Quilt Top Study 'Into The Woods', an inkjet print paying tribute to the masons and quiltmakers in her family.
• Emily Loughlin: Cellulose Net, a glazed stoneware piece that meditates on organic cell structures.
• Hiroko Ohno: Galaxy 1, a mixed media painting of a celestial body created with an ancient Japanese technique of using paints made from minerals and shells that condense the earth's time.
• Mimi Oritsky: Fallen Wet No.4, an oil on linen painting depicting wet leaves on a dry porch.
• José-Ricardo Presman: Study for Invisible Painting, an acrylic on canvas board piece requiring viewer contemplation.
• Aleksandra Scepanovic: The Veil, A figure borne of clay and aged with industrial patina reflecting a search for elusive identity amidst war and peace.
• Christopher Squier: Double Rainbow (Redacted), a graphite on rag paper piece that explores the experience of sight and vision.
• Dain Susman: Pleated Weights 2, an archival pigment print on polyester mesh, depicting the evolving image of a tool.
• Grant Whipple: Remission, an oil on canvas on panel piece evoking the tension of ecological and social change.
• Aaron Wilder: Before Exile 30 and Before Exile 36, two mixed media drawings on analog film test prints, reflecting on the artist's forced exile from San Francisco during the pandemic.
• Joyce Yamada: On the Border, a charcoal and conte crayon drawing in response to Trump’s border policy of separating children from their parents.

Seeing Is Believing aptly captures the essence of the exhibition by emphasizing the transformative power of perception and the subjective nature of visual experience. Each artist presents a unique interpretation of reality, challenging viewers to question their own understanding of what they see. From Aaron Wilder's mixed media drawings that reflect on personal exile to Christopher Squier's explorations of light and vision, the artworks invite contemplation and introspection, making the act of seeing a deeply personal and revelatory experience.

Further, Seeing Is Believing underscores the idea that art can alter our perception and understanding of the world. The diverse mediums and techniques employed by the artists, such as Grant Johnson's infrared light prints and Dain Susman's evolving tool imagery, demonstrate how different visual approaches can reveal new truths and insights. By engaging with these artworks, viewers are encouraged to move beyond surface appearances and discover deeper meanings, ultimately reinforcing the notion that belief and understanding are intrinsically linked to the act of seeing.

By highlighting the power of perception and the subjective nature of visual experience, Seeing Is Believing resonates with contemporary discussions about reality and truth. In an age where information is abundant and often conflicting, the exhibition encourages viewers to question and reinterpret their perceptions. The diverse range of mediums, techniques, and subject matter showcased by the artists help foster a more nuanced understanding of the world.