Pure Moods considers mood not as background, but as subject—a primary material through which affect, atmosphere, and perception are constructed. Borrowing its title from the ambient music compilations of the late 1990s, the exhibition uses this cultural artifact as a point of departure rather than a destination. Here, mood is reframed as an active, generative space: a porous terrain shaped by sensation, repetition, and aesthetic intention.  Mood is approached as architecture, as residue, as haunting.  

Not a nostalgic reenactment, but a recontextualization, Pure Moods becomes a framework through which to explore the visual, spatial, and emotional architecture of “mood.” This exhibition proposes an emotional range of the ethereal: mood as material, mood as memory, mood as myth. Mood as technology—sound waves, gradients, reverbs—or as spirit, ineffable and expansive. Channelling a shared language of plasticity, mystery, and resonance, the works invite a kind of experiential drift. A surrender to tone, texture, and atmospheric pull that collectively asks: What does it mean to be moved—not by narrative or logic, but by tone, temperature, texture?

The selections on view engage mood as a mode of transmission and translation of emotions–memory, longing, or escape that often resist clarity in favor of affective density. What emerges is an inquiry into how mood operates across media. How it coats, absorbs, distorts, or reveals; exposing that liminal space between presence and escape where ambiance functions both as sensory balm and as psychic terrain.  Can we escape into materiality as an act of presence and resistance?

In a time of constant signal and urgency, Pure Moods offers slowness and spaciousness. The works conjure environments that hover between clarity and fog, past and future, embodiment and disappearance; utilizing the power of atmosphere to hold meaning in suspension. It proposes that to feel—to tune in to the subtle, the ambient, the liminal—is in itself a political and poetic act. They can't catch us sleeping if we don’t close our eyes.

Fly by Night
Anaïs Morales and Dom Smith
April 26th - June 7th, 2025

Opening reception:
April 26th, 2025
6:00 - 10:00

It is a very good thing to feel which way the wind is blowing by moistening one's finger.  The works on view in ‘fly by night’ present motifs in painting that are not the subject.  Anaïs Morales and Dom Smith both make paintings that begin with some thing…an image, a texture, a thing they saw.  Unbound by hierarchies of representation, and negating the dialogues surrounding current notions of abstraction; these elements become mutable forms that are reduced, then shift in scale, and materiality.  

Morales and Smith will be presenting discrete selections from separate yet parallel bodies of work where process and materiality are paramount to expression.   On view from Morales will be works from two separate series.  The first called Recurrence a vacu formed painting made of polystyrene in which the central form takes on a quasi death mask character; one of the penultimate iterations of a series of work last shown in 2022.  The second is a new representational drawing in charcoal on vellum.  From Smith, a large scale oil and charcoal painting on nylon will be on view along with an acrylic, oil stick, and charcoal work on paper, and an artist made repoussé and brass patinaed spear tip.  

Morales and Smith approach their work as Janus.  Dual characters with eyes forward and backward, experimenting through material and process.  Proffering these gifts towards the immutable.  Thoughts can exist without language, but do morticians ever really get a day off?