We are pleased to announce The Branch Will Not Break, the second solo exhibition by Yowshien Kuo with Luce Gallery. Opening September 11, the show presents a selection of new paintings.

“In the new year, I began each morning looking back on the nostalgia of my earliest painting lessons. I reached for materials first introduced to me as a young art student in Taiwan – bamboo and mop brushes, black ink, rice paper, and water. Recruiting the philosophical and physical antecedents of a calligraphic discipline. Various ratios of water and ink permeated, glided, and blotted the underweight paper – an improvisation. Messy and wet, a guided but liberated unpredictability of heavily saturated achromatic depths, inkblots, solidified into surreal landscapes of roaring clouds, laser horizons, and wild flora. The result of these studies shared a communal dialogue with Chinese Tang Dynasty paintings, whose influence is notably evident in the shared cultural hybridity of 18th-century Literati paintings that bridged Chinese and Japanese values. Literati painting has its origins in China, and can be translated as scholar painting. It is more interested in personal erudition and expression than in literal representation by encouraging spontaneity as a virtue of sincerity. Facing an expanding and modernizing Western world, the orthodox literati style was no longer tenable, yet it did not disappear. Rather, it adapted, always refashioning itself. Subsequent iterations are multifarious and complex. So capacious is the discipline, my appetite for nostalgic musings is imbued by the wayward ink and cultural hybridity of the literati approach.

Weightless bamboo brushes sodden with ink, the mighty gossamer paper transcending through time, culture, and geography. Attuned to the perennials of calligraphy, landscape, flora, fauna, and the collaborative pedigree synonymous with literati painting. Transported, I awoke, squinting up at the chinks of beaming sunshine, listening to the susurrations of wild grass and the sweet, earthy scent of petrichor. An elusive cafuné is tender and gentle in my hair and at my fingertips. The directives and coarseness of the quotidian world are absent in these idylls. Here, I can claim this respite as my own; in this temporal order, skeleton keys are done away with, for doors with keyholes do not exist in the celestial manifestations of the mind. Unbounded, I can sense an archaic past and simultaneously an enduring future.

When clouds flower in the light of one’s own mind, to traverse in the inner landscape amidst the new demands and mandates that whittle reality becomes a rare and necessary inversion. Cynicism is easy; hope is challenging. Wayfaring through the milieu, flustered by lost door keys, the footing is mercurial and precarious, so I reach for the branch that will not break; trust is sturdy and stronger than it often appears. Relying on the muscle of self-introspection granted to me by the cosmos to recalibrate the tale told by an idiot. Gazing upward in ascension, I am warmed by the horizon and unfettered by the walking shadow beneath me; an abjection of the sound and the fury of the modern world. Emboldened by literati acumen, I peer through the looking glass, refashioning myself to grasp and embrace. As God’s finger gives life to Adam, I imagine him awakening from emptiness and saying, “…My God – It’s full of stars!”. As nature is beholden to humankind both in the eyes and in the mind, anything and anyone I touch can be a steadfast branch”.

Yowshien Kuo (b. 1985) is a St. Louis-based artist working primarily in painting. His work blends his personal experiences as a Taiwanese American with historical references and criticism to comment on social and racial inequality, cultural constructs, sexuality, and the human condition. Kuo graduated with an MFA in 2014 from Fontbonne University in St. Louis, Missouri. Most recently he was the recipient of Great Rivers Biennial Arts Award 2022-23, having a solo exhibition at The Contemporary Art Museum in St. Louis. His artwork has also appeared in many publications including New American Paintings #149 in 2020, where he was prominatley featured on the cover. Kuo has exhibited throughout the United States and Europe, including a number of art fairs.

Notes

The information on Literati artwork comes from the book, “Literati Modern”, Bunjinga from Late Ado to Twentieth-Century Japan. The Terry Welch Collection at the Honolulu Academy of Arts. Paul Berry and Michiyo Morioka. Published by Honolulu Academy of Arts. 2008. Along with references by China Online Museum, “Literati Painting”. https://www.comuseum.com/painting/schools/literati-painting/ and “Landscape painting in Chinese Art”, Department of Asian Art. October 1, 2004. Metmusuem.org.https://www.metmuseum.org/essays/landscape-painting-in-chinese-art.

The word cafuné is Brazilian-Portuguese (pronounced / ,ka-fu- ‘ne /). The website languagedepartment.com describes cafuné as, “…a force of affection, of tenderness, but most importantly it's a calming force…”. https://languagedepartment.com/beautiful untranslatable-words-from-around-the-world10/.

I am deeply moved by the phrases “Clouds are flowering” and “The is the light of the mind”, which both come from Sylvia Plath’s poem, The Moon and the Yew Tree, dated October 22, 1961.

The phrase “…celestial manifestations” comes from Nathaniel Hawthorne’s novel, The Scarlett Letter, 1850.

“The Branch Will Not Break” is the title of a poetry collection by James Wright published in 1963 by Wesleyan University Press. This collection is often considered a new direction for Wright. “…encompassed a startling mix of careful detail and surprising leaps of thought and structure in loose and open verses.” – https://poets.org/book/branch-will-not-break.

The lines, “creeping in this petty pace from day to day”, “The tale told by an idiot”, and “sound and fury” come from Macbeth’s speech: “Tomorrow, and Tomorrow, and Tomorrow” by William Shakespeare’s play, Macbeth. Ref. https://www.poetryfoundation.org/poems/56964/speech-tomorrow-and-tomorrow-and-tomorrow.

“Through the Looking Glass” is a book published by Lewis Carroll in December 1871, a sequel to Alice’s Adventures in Wonderland. The theme of his imagined entering into a strange new world was an inspiration to me in this work.

The image I had in mind for the description, “God’s finger gives life to Adam,” is none other than Michelangelo’s fresco referred to as The Creation of Man in the Sistine Chapel, c.1508-1512.

The phrase, “My God – it’s full of stars!” Caught my attention in Tracy K. Smith’s poetry collection, Life on Mars, published in 2011 by Graywolf Press. The author notes, “The title 'My God, it’s full of stars' is adapted from the quote from Arthur C. Clarke’s novel, 2001: A Space Odyssey…” This enhances the lines for me as I am inspired by Stanley Kubrick’s film of the same title as the novel. The themes of time travel and our relationship to the cosmos are congruent with the exhibition.

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Luce Gallery is thrilled to announce our special anniversary group presentation, Fifteen Years.
This show celebrates the gallery's milestone and features new works by a selection of the artists we work with, including Dominic Chambers, Ryan Cosbert, Robert Davis, Derek Fordjour, Connie Harrison, Yowshien Kuo, Hugo McCloud, Johanna Mirabel, Peter Mohall, Demarco Mosby, Ludovic Nkoth, Collins Obijiaku, Zéh Palito, and Francesco Pirazzi. Opening May 16, the exhibition showcases the incredible talent and diversity of artistic style of our artists, some of whom have been with us since the inception of our gallery, as well as recent additions to the program. This show honors our partnership and journey with these artists, whether they have already achieved career stardom or are just beginning to make their mark. Fifteen Years offers a profound moment of pride and reflection, encapsulating Luce Gallery's mission to discover and support international emerging artists, enriching our ever-expanding gallery program.

With director and founder Nikola Cernetic at the helm, Luce Gallery's mission has always been to seek out new talent and provide spaces for their artworks to gain a wider audience. In a recent interview, Cernetic explained:

"I opened Luce Gallery in a very romantic way, and to this day, that spirit persists. I've never chosen an artist solely for a commercial reason; I ask them to join my program because I love and believe in their work and vision. Searching for these artists and being the first to discover them is perhaps the most interesting and rewarding part of my job as a gallerist. What distinguishes Luce from other galleries today is really our strong program of international artists and consistent discovery of new artists."

Over the years, the gallery's roster has been assembled to include artists from more than eight countries, including many hailing from the United States. The program currently excels at painting, displaying the full breadth of this medium from dynamic abstraction to hyperrealism, palpable textures to seemingly invisible brushstrokes, and often incorporates elements of mixed-media or collage used to heighten conceptual meanings. With a strong focus on providing under-recognized artists with a platform to exhibit and a partnership to provide support, we are always searching for unique talent with a distinctive quality from around the globe and in every medium.

To date, the gallery has hung seventy-seven exhibitions, participated in sixty-five art fairs across Europe and North America, and helped organize several well-received institutional shows for our artists, including a recent solo show of Zéh Palito's work at the Museo de Arte Contemporáneo Querétaro in Mexico. Luce Gallery has distinguished itself through its unwavering commitment to emerging artists for fifteen years, and this show encapsulates that vision.

Included in the nineteen newly made artworks on view are a selection of works by artists who have collaborated with the gallery the longest, including a 1970's inspired portrait by Robert Davis, two floral still-life paintings —composed with his signature single-use plastic technique—on panel by Hugo McCloud, a tranquil leisure landscape by Peter Mohall, and featuring a playful sculpture by Derek Fordjour of upturned legs precariously balancing a glass yellow ball. In recent years, other noteworthy artists such as Dominic Chambers, Ryan Cosbert, Yowshien Kuo, Johanna Mirabel, Demarco Mosby, Ludovic Nkoth, Collins Obijiaku, and Zéh Palito have joined the fold. Each brings a distinct 'language' of painting incorporating elements of surrealism, portraiture, and abstraction, expressing the complexities of race, gender, humanity, and memory. Additionally, the newest members to the program include two artists inspired by the landscape, Connie Harrison creating dense abstracted gardens both painted and excavated from oil and wax layers, and Francesco Pirazzi harnessing the mysterious nature of light in a surrealist style, with both artists debuting their solo shows later this year.

When viewed collectively, the artworks in Fifteen Years narrate a tale of the strength of Luce's program and the significance of the gallerist-artist relationship. Here, their devotion to creation is matched with our belief in their talent and abilities. We would also like to reserve a moment to thank our collectors—small and institutional—who have supported both our artists and this gallery's vision every step of the way. Thank you for joining Luce Gallery as we embrace this milestone with open arms and toast to now and to the next Fifteen Years! Salute!

Dominic Chambers (American, b.1993) is a New Haven-based artist originally from St. Louis, Missouri. He paints introspective scenes that illustrate both the interior and exterior self and how this duality co-exists using a bold, vibrant palette. Chamber's surrealist-inspired work draws on both historical and art historical references and is grounded in his experiences as a Black man.

Ryan Cosbert (American, b.1999) is a Brooklyn-based conceptual artist working in abstraction. Her work draws from her Haitian and Guyanese heritage, humanistic experiences, self- expression, political issues, and rigorously researched historical narratives of the African diaspora. Cosbert skillfully explores the repercussions of subjugation and oppression experienced by the Black community, often shedding light on overlooked Black historical figures, shared experiences, and profound beliefs.

Robert Davis (American, b.1970) was born in Virginia and currently lives and works in Brooklyn, NY. His hyperrealistic paintings and drawings depict nostalgic scenes from the 1970s, often recalling images from popular culture or his vivid childhood memories. Davis' work invites viewers to reflect on the past, encouraging them to form deep personal connections to the subjects and spaces he portrays.

Derek Fordjour (American, b.1974) is an interdisciplinary artist of Ghanaian heritage who works across painting, sculpture, collage, video/film, and installation. Inspired by athletes, musicians, performers, and other Black cultural creators, Fordjour's artworks explore the vast physical possibilities of the human body while anchoring each subject within a broad social commentary. His works feature colorful, textural surfaces paired with energetic subjects, creating a seamless blend of physicality and conceptuality that evokes complex emotions.

Connie Harrison (British, b.1993) is a painter based in London who specializes in vibrant abstracted landscapes. Her technique involves overlaying multiple compositions of oil paint and wax, which she then carves to reveal underlying depths. This process serves as a metaphor for nature's natural rhythms and life cycles. As Harrison works, different parts of the surface evolve in texture, opacity, and color, creating movement and adding physical depth to the painting, as if simulating growth.

Yowshien Kuo (American, b.1985) is a St. Louis-based painter whose surrealist work blends his experiences as a Taiwanese American with historical references that comment on social and racial inequality, cultural constructs, sexuality, and the human condition. Incorporating Asian- American figures with American Western undertones, Kuo conveys universal experiences and traditions through detailed narratives and symbolism.

Hugo McCloud (American, b.1980) is a self-taught artist based in Los Angeles. Drawn to unconventional materials, he creates detailed representational works using his technique of 'painting' with single-use plastic bags that fuse industrial products with traditional painting, collage, and printmaking techniques. By using ubiquitous materials like single-use plastic, both McCloud's materials and subject matter directly address issues of labor, geopolitics, and environmental concerns, providing us with a deeper connection to our humanity.

Johanna Mirabel (French, b.1991) is a Paris-based painter whose work explores the intimate connection between our inner thoughts and interior spaces. By combining symbolic hues, tropical plants, household objects, and suggestions of exterior spaces with detailed portraits, the artist creates deeply intimate works that explore the immersive and transportive experience of recalling a memory. Her work draws from her French Guyanese and Martinique-Guadalupe heritage, sociological and philosophical writings, and historical references to Western art.

Peter Mohall (Swedish, b.1979) is a Swedish-born, Norwegian-based artist working in painting. His work explores the history and medium of painting as a subject and how each element contributes to our rich emotional experiences. His scenes of leisure, with picturesque Scandinavian backdrops, are painted on tactile jute surfaces with rich, palpable colors. Mohall further invites viewers into his artistic process by neatly arranging each color from his palette onto his signature acrylic brushstroke casts.

Demarco Mosby (American, b.1991) is a New York City-based figurative painter originally from Kansas City, Missouri. His work is narrative-based and uses the human figure to mirror and reveal the weight and complexity of life's everyday tribulations. By incorporating his symbolic vocabulary of objects like birds, ropes, rocks, and tumultuous landscapes into each composition, Mosby creates layered narratives that aptly visualize the complexity and disorientation of our emotional states.

Ludovic Nkoth (Cameroonian-American, b.1994) is a Cameroonian-American painting artist who now lives and works in New York. Known for fluid figurative works created with undulating heavy brushstrokes, Nkoth infuses his personal life as a Black immigrant with ruminations on family history, tradition, and the legacy of colonialism onto the canvas to manifest the essence of the Black experience.

Collins Obijiaku (Nigerian, b.1995) is a self-taught artist based in Abuja, Nigeria. He employs portraiture to examine the depths, truths, and complexities of humanity, using friends, family, and locals as his sitters. Each expressive gaze is further accentuated by his signature winding charcoal line work, which weaves throughout the sitter's face, reminiscent of 'mapping' their life journey.

Zéh Palito (Brazilian, b.1986) is a figure painter whose vibrant, joyful works celebrate Black culture. With studios in both Baltimore, MD, and Sao Paulo, Brazil, Palito researches neglected histories and gives them visibility in the canon, with each figure represented as a confident protagonist. His work is embedded with details referencing popular culture and traditional Brazilian fruits and flora to further radiate both beauty and joy.

Francesco Pirazzi (Italian, b.1994) is a painting and drawing artist who lives and works in Turin, Italy. His surreal yet quiet Italian-inspired land and cityscapes explore the profound power of light, using it to refocus the viewer's experience of reality to evoke both familiar and mysterious sensations.

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