Sarah Pater,  Iris Versicolor,  12 x 16 in, oil and wax over acrylic on linen

Sarah Pater, Iris Versicolor, 12 x 16 in, oil and wax over acrylic on linen

Through painting, sculpture, installation and video, Natessa Amin, S.E. Benezra, Sarah Pater and A.J. Rombach invite guests into their circle, a “coven" empowered by ritual practice, chance meetings, and places of convergence. The four have developed personal lexical symbols that reinterpret elements of reality for the willing guest: something on the periphery, a circle on the edge, a tangential reality.

Read more about the exhibition.


Amin’s work incorporates symbolism and material practices siphoned from a coalescence of family history and African, South Asian, and Pennsylvania Dutch visual culture, mythology, and folklore. Her paintings and other works function as catalogs of experiences, dreams, events, memories, and desires, spiraling outward and reaching through time. The lived experience referenced in Amin’s work embraces an inherent truthfulness at a time when it is often difficult to tell what is real or fake.

Benezra paints what she calls "sensations of vibrating light, endless space, and frozen time." Invisible forces influence the laws, carve the landscape and shape the body. The sense of scale oscillates between the micro and macroscopic. Her ceramics perform an interior function: often literally holding cut flowers, and an exterior one, where a meditative consideration of the flowers and the sculpture as vessel is offered through the glazed imagery.

Pater's work employs ideas and imagery drawn from bored, everyday experiences as an administrative assistant, the third most common occupation for women in America, as a way to frame passive aesthetics that permeate daily life. Banal visual scenarios are imbued with hyper-stillness, incongruous signals for times of day, and disorienting spatial cues. The paintings reveal familiar scenes rendered strange — the quotidian turning otherworldly.

Rombach places an emphasis on the significance of decision making and bearing witness. Her work deals with transcribing her own photographs into oil paint, sometimes working with the same image multiple times in order to examine notions of branching reality. This exhibition will mark her first shown video work. Her looping video contends with the desire for joy amidst a personal tragedy that feels powerlessly fated.

On view: January 12 - February 10, 2019

Opening reception: Saturday, January 12, 7 - 10 PM

Went There: THERE IS NO BAND @ The Distillery Gallery
Boston Hassle
| January 18