Surfaces, whether physical, social, or cultural, serve as both a medium of visibility and a veil that can obscure deeper meanings, while also acting as an invitation to a different realm. Under the Skin explores the interplay between surface and essence. It invites viewers to look through the obvious to engage with the radiant, unspoken qualities that define the essence of what they observe, whether it’s a painting, an object, a person, or a life event.

In a world of sensory overload, dominated by both carefully curated visuals and the sheer deluge of information, where appearances are often mediated and surveillance culture thrives, this exhibition invites us to reconsider what can emerge when authenticity and deeper insights are offered. Touching on abstract, spiritual, and feminist-themed paintings and sculptures, Under the Skin reflects on how works that seek aesthetic beauty and profound introspection can transcend the allure of mere appearance, revealing essence when external layers are stripped away. This perspective challenges viewers to slow down, to look thoughtfully and find the ideas, emotions, and complexities that lie beneath the veneer of things, as tantalizing and pleasurable as that is. By doing so, surfaces are transformed into gateways, entry points that lead us to deeper insights of truth, resilience, and transformation.

Under the Skin

Jan 22-Feb 5, 2025

curated by Yvetta Zheng

Artists

Kaley Flowers ✦

Zengyuan Ma ✦ 马增媛

Yoorim Ko ✦ 고유림

Manuel Mata ✦ Manuel Mata

Jess Xiaoyi Han ✦ 韩潇仪

Youvi Chow ✦ 周恺睿

艺术家 예술가/아티스트 Artista

Address

132 west 21st street, 10th Floor, CP project space, New York, NY, 10011

Hours

M-F 9am - 6pm

weekends appointment only

Ova/Ego explores the intricate dynamics of identity through the lens of psychoanalytic theory, weaving together the id, ego, and superego with elements of time- past, present, and future. The id, represented by the ceramic cradle or vessel, symbolizes primal instincts and raw desires, serving as the foundational layer that houses the ego. Its organic, tactile form evokes the unrefined nature of these unconscious drives, rooted in human evolution and personal history. Meanwhile, the ego, embodied by the sculpted egg at the center, reflects the conscious self-striving for balance. Suspended within the fragmented world of the shattered mirror, the egg visually captures the ego’s challenge to reconcile internal impulses with external pressures. Finally, the superego, represented by the smashed mirror, confronts viewers with the fractured ideal of self-image. Its cracks and distortions symbolize how societal norms and expectations disrupt and distort how individuals see themselves.

The addition of the three hanging elements representing past, present, and future deepens the narrative. The id, tied to the past, anchors the piece in our primal origins, drawing from the subconscious and ancestral memories. The ego, grounded in the present, embodies the delicate balance of navigating the now, while the superego, oriented toward the future, represents aspirations and the ideals that often remain out of reach. These temporal elements echo the fragmented journey of self-perception, encouraging viewers to reflect on their own relationship with time and identity. By incorporating small decals of digital iconography within the piece, the sculpture further links these psychological forces to contemporary life, underscoring how modern technology both reflects and shapes our primal desires, conscious selves, and societal expectations.

The viewer’s role is pivotal. As they approach the work and see their distorted reflection in the shattered mirror, they are drawn into the narrative. This reflection not only engages them with the fractured ideals of the superego but also places them within the tension of the id’s desires and the ego’s mediation. The distortion disrupts their sense of self, encouraging a deeper introspection about how internal forces and external influences shape identity. The interplay of reflective materials, tactile ceramics, and hanging elements invites viewers to grapple with their own past, present, and future, creating a dynamic and deeply personal experience. This powerful engagement transforms the sculpture from a static object into a conversation between art, the unconscious, and the observer’s psyche.

                                                                                                           Kaley Flowers

Kaley Flowers is a Northern Ontario-based ceramic artist drawing inspiration from the intersection of nature and technology. Working from her woodland studio, she invites viewers to contemplate the interplay between the digital realm and the natural world, offering a perspective that bridges seemingly disparate elements and reflects our increasingly interconnected lives.

Flowers seeks to preserve the ephemeral nature of the Internet, capturing it within the enduring permanence of ceramic material. Her work features intricately carved details harmonize the complexity of digital aesthetics with the tactile presence of the natural world. She frequently explores the evocative power of gifs, memes, and other digital ephemera, examining their influence on contemporary culture and the collective human experience.

Flowers is a graduate of OCAD University in Toronto, and completed a 3-year term as an Artist-in-Residence at Toronto’s Harbourfront Centre in 2020. Her work has been shown internationally and across Canada in galleries such as Hashimoto Contemporary (San Francisco), The Hole (NYC) and the Dunlop Gallery (Regina). In 2019, she attended ACRE Artist Residency (Chicago), the Picnic Art Festival (Shanghai), and was awarded Juror’s Choice at the Salt Spring National Art Prize (Canada).

Manuel Mata

Mouse / I am looking for someone to burn abandoned buildings with love, 2025

printed paper and staples