Interwoven: Unveiling the Poetics of Observation

Mira Dayal

Gi (Ginny) Huo

Martín La Roche

Martha Naranjo Sandoval

Simón Ramírez

Miriam is pleased to present Interwoven: Unveiling the Poetics of Observation, a group exhibition of new works.

As the sun reaches its zenith in late June and the days stretch languidly into the warmth of summer, this exhibition invites the viewer to slow down and observe chance occurrences and experience the interconnectivity of the artist’s work as they unveil new pathways. As you observe, you decelerate, you discover links, whether personal or collective. Examining the intermingling of artists and the ineffable strangeness found in the act of observation, where associations become vessels for tacit encounters and connections transcend the tangible.

Mira Dayal’s works focus on materiality, drawing attention to commonly overlooked forms and mediums such as paper, paperclips, springs, and origami. 100 Paperclips (2023) and Metal Paper Spring (2024), both made of steel, emerged in the artist’s studio through playful material experimentation, exploring the possibilities of iterative forms. Interestingly, simple materials like folded paper are now studied as mathematical models, revealing complex principles that challenge traditional Euclidean geometry. A compressed spring harbors the potential to unleash energy upon release. While paperclips lack the same type of potential energy, when linked together, they form binding yet elastic chains. Steel is typically perceived as rigid, stable, and architectural, yet it’s also a malleable and adaptable material. There’s an allure to the notion of impossibility in these objects, where they reference ephemeral materials like paper and fabric, bending, folding, and weaving while appearing rigid.

Employing wood, steel with embedded metallic photos, and ceramics, Gi (Ginny) Huo’s works, 흙/Soil (2024), 둘/two (2024) and 사이/in between (2024) delve into the poetics of observing the intangible through the essence of a line, the spaces that connect and disconnect us, sky studies, and translation. 흙/Soil holds a personal narrative, alluding to the excavation of a complicated historical past through a series of interrelated unearthed objects: phone lines, referring to the 40 telephones that connect North and South Korea, a family photo of burial soil, and a steel armature structure. Hou’s work often incorporates imagery of the ground and sky, gesturing toward cycles of life and death, the heavens and the earth. Within this liminal space, a deepened relationship with the horizon emerges.

Martín La Roche presents his latest artist book Sandplay Manual (Miriam 2023), a testament to the power of shared memories and associations through objects. The book was produced in response to his interactive installation Sandplay, presented by Miriam this past winter, where La Roche invited participants to delve into a world of collective reminiscence, where objects buried in an immersive sandbox triggered memories that led to an intertwined display of the human experience. The sand and objects utilized for the artist book’s construction were part of the installation.

Installed throughout the installation of Interwoven, Martha Naranjo Sandoval’s photographs act as prompts for observation and association. While Naranjo Sandoval’s initial process is guided by intuition and might feel a bit disparate, the ensuing edit of her meticulously detailed documentation captures the most mundane moments in order to build a cinematic account of her domestic and habitual life. Including images that freeze fleeting moments within detailed frames, exhibiting rhythmic interplay and continual connections. In one such instance, Brooklyn, December 2023. Roll 483, Frame 30 (2024) depicts three flies on the hood of a beat up car, seemingly insignificant yet carrying humor and intimacy within happenstance.

Simón Ramirez’s drawings act as portals into enigmatic structures of consciousness itself. Through pieces meticulously drawn and assembled together, Ramirez’s work investigates the nature of stimuli and perception, association and observation, sparking contemplation on the elusive boundaries of the mind. Cultura Magica (2021) uses graphite on paper to fictionalize the apparent low-fi source material, presenting and codifying a new lexicon based on visual stances.

The pieces in Interwoven: Unveiling the Poetics of Observation create a new topographical landscape that invites the viewers to gaze through different perspectives and points of a line. Working together in both synchronous and contradictory modes, the works in the exhibition explore approaches of observation and the resulting intangible connections.

Artist, writer, editor, and educator based in New York. Her studio work involves subtle, laborious applications of materials; critical reflections on changing technologies; and formal explorations of the limits and systems of language. Her work has been shown at Barnard College, Parent Company, Spencer Brownstone Gallery, Hesse Flatow, Gymnasium, Lubov, Nurtureart, Nars Foundation, and Abrons Art Center in New York, as well as the the Hessel Museum of Art, Annandale-on-Hudson, NY; Princeton University, NJ; lower_cavity, Holyoke, MA; Artspace New Haven, CT; Apparatus Projects, Chicago; Stndrd, Granite City, IL; Ochi, Los Angeles; Kunstverein Dresden, Germany; and other spaces. She has participated in residencies and intensives at Ox-Bow, Art in General, and A.I.R. Gallery. Dayal is currently on faculty at Barnard College and the School of Visual Arts and has previously taught at Hunter College and the International Center of Photography.

Artist and educator whose work considers the intentions of what people believe and the legacies of religious systems. Huo’s work has been exhibited and screened at places such as Franconia Sculpture Park, Canada Gallery, Socrates Sculpture Park, BAMCinemafest, The Smithsonian Archives of American Art, and has published three books with Small Editions. Huo has participated in residencies and fellowships such as Smack Mellon, Baxter St at the Camera Club of New York, Robert Blackburn Printshop SIP Fellowship, and Skowhegan School of Painting and Sculpture. Huo is currently the recipient of the 2024-2026 Princeton Arts Fellowship. Huo’s work has been featured in Hyperallergic, Studio Magazine, Art Papers, Tayo Literary Magazine, and The Brooklyn Rail. Huo holds an MFA from Maryland Institute College of Art and BFA from Brigham Young University and has worked as the Assistant Director of Education at the New Museum of Contemporary Arts, Youth Programs Manager at The Studio Museum in Harlem, and Adjunct Professor at Parsons School of Design. Huo lives and works out of Lenapehoking, the ancestral homeland of the Lenape people, otherwise known as Brooklyn, NY.

Santiago, Chile. He earned a BA in Visual Arts at the University of Chile, Santiago in 2013. In 2015, he completed a postgraduate program at the Jan Van Eyck Academie in Maastricht, the Netherlands. Since then, he has lived and worked in Amsterdam. His work has been shown in solo exhibitions at MAVI (Museum of Visual Arts, Santiago de Chile); Casanova (São Paulo, Brazil); Manifold Books (Amsterdam,The Netherlands); Die Ecke Arte Contemporáneo, (Barcelona, Catalunya); and Beautiful Distress (Amsterdam, The Netherlands), among others; and in group exhibitions in Colombia, Germany, Serbia, Switzerland, and Japan, among others.

Brooklyn-based visual artist, photographer, publisher, and cataloguer from Mexico City. Her work focuses on the family album as means of creating community around photography. She holds a degree in Film from Centro de Diseño, Cine y Televisión in Mexico City, and an MFA from the International Center of Photography and Bard College. In 2023 she presented the solo exhibition The Stench of Orange Blossoms at Miriam Gallery, and the next year she presented Flowering Wound at Baxter Street Camera Club of New York as part of their Artist-In-Residency program. She is the founder and director of the editorial project Matarile Ediciones, which publishes work by artists who are immigrants or part of a recent diaspora.

Medellín, Colombia. Lives and works in Brooklyn, New York. Simón holds a Master’s degree in Fine Arts from the New York Academy of Art and a degree in Graphic Design from the Universidad Pontificia Bolivariana de Medellín. He has been based in the United States since 2014. His artistic work explores ideas surrounding language structures, dissociation, intuition, and misunderstandings. He works in mediums such as painting, drawing, and printed materials. His work “El libro que tiende a desaparecer” was launched at Casa Bosques (CDMX) and later at Printed Matter (New York), and is currently part of an exhibition at the Carrillo Gil Art Museum (CDMX). Currently, this work is included in collections of institutions such as Mumok (Vienna), John M. Flaxman Library SAIC (Chicago), and Bayerische Staatsbibliothek (Munich). Additionally, he has been exhibited and published at the Museum of Modern Art in Medellín, the National Portrait Gallery in London, ProxyCo Gallery, backbonebooks, Parent Company Gallery, among other places.