Luhring Augustine is pleased to announce a group exhibition featuring new and recent work by artists ektor garcía, Kaveri Raina, Rebecca Shore, and Clarissa Tossin. On view in Chelsea from June 28 through August 16, the exhibition presents garcía and Tossin’s sculptures in dialogue with Raina and Shore’s paintings. Through formal and material interventions, these artists draw on their diverse histories to explore connections across culture and time.

ektor garcía’s (b. 1985) hand-worked sculptures transform materials through connection. Employing fasteners, loops, and knots, garcía references rural handcraft and gendered traditions from his family history in Tabasco in Zacatecas, Mexico and adds sources found through his global travels. The exhibition presents garcía’s recent work, including sculptures made of glazed ceramic, porcelain, steel, crocheted cotton, and copper wire that are simultaneously delicate and powerful.

Raised in Brasilia, Brazil, a city designed as a modernist utopia by architect Oscar Niemeyer and urban planner Lucio Costa, Clarissa Tossin (b. 1973) focuses on the failures of modernity and globalism in her work, and combines sculpture, performance, video, and photography to examine the impact of cultural and economic exchange. Her recent work previews a dystopic future shaped by the impact of globalism on the natural landscape, such as Amazonis Planitia #1, a multimedia work that includes a suspended, rotating "planet" woven from strips of Amazon.com delivery boxes and a satellite image of Mars, along with two glossy NASA satellite photos depicting a smooth plain on Mars named for the rainforest. All that You Touch, You Change, and The Only Lasting Truth is Change are spherical sculptures that resemble melting, molting globes, and Future Fossil Study is a sculpture of manmade non-biodegradable materials and recycled plastics from the artist’s own waste forming the strata of a future geologic sedimentation.

In Kaveri Raina’s (b. 1990) vibrant paintings, anxious, yet familiar shapes teeter across the surface, amorphous but present. Her forms hover in space and collapse any distinctions between figure and ground, landscape and portrait, and abstraction and representation. Using permeable materials like woven burlap and canvas, Raina paints on both sides of the surface, playing with saturation and texture, molding color like clay. Drawing on the colors from the past, specifically familiar to her childhood in New Delhi, India, she uses a jewel-like palette to create vivid combinations and patterns.

Rebecca Shore (b. 1956) has long explored pattern, ornamentation, trompe l’oeil, and shallow space, first in her quilts, and later in her meticulous paintings. In these recent works, dating from 2017-18, she draws on a vocabulary of ribbons, draped fabric, chains, and hoops, which are defined in part by their physical characteristics: floating, looping and twisting ribbons, taut and weighted chains, pleated, translucent fabric, and stiff hoops. These elements activate the backgrounds of her paintings, which feature bands of color and interlocking shapes derived from medieval manuscripts and architecture. Often alluding to the human body or face, they are at once serious and playful.