Spinello Projects presents I’m gonna getcha, a two person show by Alejandra Moros and Thomas Bils. This exhibition offers an intimate look into the creative dialogue between these close friends and colleagues, whose artistic practices have influenced each other in profound and unexpected ways.

The impetus for this exhibition emerged from a painting trade between the artists, where both depicted a close-up of an anole, a lizard with both native and invasive subspecies in Florida, hanging from an earlobe in a piece titled I’m gonna getcha. This shared creative act initiates a broader aesthetic and thematic conversation that unfolds playfully throughout the exhibition à la exquisite corpse. The works of Moros and Bils, while distinct in style and approach, engage in a chummy visual dialogue that reflects their deep personal and artistic connection.

Known for her meticulous ability to imbue her images with a supernatural glow, Moros steps into the world of her paintings with a renewed sense of exploration. Using images sourced from public and personal photo archives, Moros’ works map her evolving interests in adaptation, evolution, and metamorphosis. Her paintings, marked by luminescent hues, intuitive cropping, and exaggerated elements, offer an analysis of the body as a tool and the subtleties of time summoning transformation.

Thomas Bils complements Moros’ by capturing mundane yet perplexing scenes. Bils’ works offer intrigue with a continuing visual inquiry into the nature of perception, reality, and the role of the artist as a world builder and jester. His paintings build images that invite deeper noticing, focusing on the tension between what is known, mysterious, safe dangerous, and normal or abnormal.

Both artists explore liminal spaces, though in different contexts. For Moros, the liminal space exists in the macro, where the body becomes a landscape, and the boundaries between shape and meaning blur. Bils’ primarily paints liminal moments in time. Each painting is a snapshot of a point of view where life is cryptic and something is about to happen. They engage deeply with the concept of defamiliarization and stasis. Alejandra Moros’ paintings transform familiar body parts and everyday objects into something alien and indeterminate through extreme close-ups and hyper detail, capturing the intimate and vast, a sensation that can be as disorienting as it is familiar. Bils’ painting, on the other hand, is parafictional diary where objects and scenes toe the line between being staged and candid. He plays on the narratorial quality of objects when placed in proximity; things are off–close to a paradox but not quite opposites. Bils, too, works with stasis, particularly in how painting as a medium can capture a moment in an action, freezing its absurdity, and then itself, becoming an artifact. These implicit concepts lead them to use proxy scenes for life and death. In Bils’ paintings life and death swim together, while Moros’ paintings are about life, but life in the way that death comes before it, offering room for new growth.

One of the exhibition’s highlights is a suite of paintings of Bils' beloved cat, Egg, rendered by both artists. This space encapsulates their creative exchange, offering viewers a glimpse into the fun that defines their relationship. Whether through the shared subject of Egg or the thematic parallels in their broader work, I’m gonna getcha showcases the rich playfulness of ideas, techniques, and sensations that these two artists bring to the discourse of painting.