RH Contemporary Art, a dynamic and immersive multichannel platform from RH (Restoration Hardware Holdings, Inc. - NYSE: RH), presents five solo exhibitions at its New York gallery, located in the Chelsea art district. Featuring a pairing of interactive works by artist collective Random International, the exhibitions also include an evolution across two series by Agathe de Bailliencourt, as well as the first U.S. solo exhibitions by Chris Succo, Niels Trannois and Tom Owen.

Random International, whose sensational Rain Room installation was on view at the Museum of Modern Art courtesy of RH Contemporary Art, will present two kinetic artworks. Audience (2008) is an award-winning installation in which the viewer becomes the subject of both the artwork and their own gaze. A field of small mirrors continually shift and tilt in an uncannily human-like manner, collectively turning to face the approaching visitor in one synchronized movement and engaging them in physical dialogue. Temporary Printing Machine (2011) is a wall-based work that periodically captures the image of its viewer to create a large-scale, ephemeral portrait that then slowly fades away. The disappearing image evokes the impermanence of existence. Together, the pieces engage with ideas of performance, surveillance and self-image through repeatedly reversing the roles of the viewer and the viewed.

Named one of the “25 Artists to Watch in 2014” by Complex magazine, Düsseldorfbased Chris Succo presents Beauty Knows No Pain, an exhibition that subtly explores the potential for cohesion among random repetitive gestures. The show, which draws its title from a Frank Zappa song, features a series of large-scale paintings created through the building up of white lacquer on canvas that is later obscured with multiple layers of white oil paint. The result is a layered surface texture that reflects principles of organized chaos. Succo created the paintings over the course of 12 weeks while participating in RH Contemporary Art’s artist-in-residence program, which encompasses a live/work studio space in Brooklyn. Succo’s paintings are juxtaposed with five sculptural elements and their flight cases. The elements range from a boxing bag to powder-coated steel objects that include a bench and a pole.

Niels Trannois’s Nubia F1 is an inspired culmination of his work over the past year. The exhibition is named after a genetic mix of aubergine that blends both white and classic dark purple varieties; the variation is marked with stripes that intensify until the fruit begins to rot. Trannois, a French artist based in Berlin, sees his work – which blends monotypes, painting and collage – as similarly floating between two identities, possessing an underlying image that exists just beneath a visible surface. His exhibition’s title suggests parallels between his work and this hybrid fruit, both formally and in terms of their organic development. Steeped in process, Trannois’s artwork explores the various material outcomes of both intuitive and premeditated creative acts.

Also on exhibit is a selection from the evolving practice of Agathe de Bailliencourt, as evidenced by the two series Paysage and Couleur du Temps. The former is an intuitive exploration of an imagined transparent, nonrepresentational environment. The latter draws its title from a 1974 Jacques Demy film and reflects a relationship between both the color of time and the color of the weather. Created during the artist’s recent residency at Marfa Contemporary, these minimalist works on linen reflect subtle effects of color and texture and were produced in a careful adaptation of acrylic paint to watercolor techniques. The French-born, Berlin-based de Bailliencourt is continually creating a dialogue between nature and paint, seeking to construct a space where nature and artificiality and inside and outside meet and blend into something new.

In He Musclyer, London-based artist Tom Owen fills his gallery with a series of paintings and wall installations created at the program’s artist residence. The title, a slightly comical, nonsensical pairing of words, seeks to convey a quiet exposure – both in terms of psychological resistance and concealment. Owen’s artworks are assemblages of materials and techniques involving plasterboard, resin and mechanical and digital print and paint. Printed motifs are repeated, adjusted or corrected across the picture plane. The viewer is left to wonder whether this is done to create a holistic movement or to interrupt the composition. Owen seeks to alter the works’ proximity and relationship to the viewer by modifying the gallery’s environment with readymade objects, such as industrial soundproof quilts, that visually and acoustically manipulate the space. Such interventions attempt to address notions of self-exposure and the unavoidable pointless anxieties and insecurities one endures.

As part of its distinct program, RH Contemporary Art is informed by the expertise of its global curatorial team, which consists of a select group of diverse art world leaders. Recommended artists are then vetted by RH Contemporary Art through a selection process that includes research, review and studio visits.