June 14 - September 4, 2026
Vincent Manzi - Rorschach scapes | Adam McGowan - Una | Libby Boyd - A Point in Every Direction | Ben K. Voss - Book of Sand | Christina van der Merwe - Geographies
CLOSING RECEPTION, FRIDAY, SEPTEMBER 4, 2026, 1-4pm
WAITING ROOM
Vincent Manzi - Rorschach scapes
Sometimes life is extra brutal and that's also when art matters extra for me. At these times I question whether there is ever any separation, the way the ticket line moves at the ballet.
These photographs came about during the severely difficult end of Philip Perkis's life, who was my close friend and mentor. This is to Philip.
Here is something I wrote about why I photograph in 2021 for anmoc:
To connect with, and examine what is fleeting (inner and outer).
Getting out there in hopes of contact with life force- a fraction of a second. To continuously follow perception.
To track the growth of my way of seeing.
The interaction of color tonalities as an infinite puzzle.
To piece it together so there’s no need for explanation.
Vincent Manzi has been photographing his daily surroundings since 1998. He got through school, has found ways to get paid, and has kept at his work. In 2022 he exhibited his prints at anmoc and Ryugaheon galleries in Korea and in 2024 his book World of Dew was published by anmoc press.
AL’S OFFICE
Adam McGowan - Una
Adam McGowan’s practice inhabits a space between painting and sculpture. Modest in scale and often protruding from the wall, the viewer is invited to experience the works on an intimate scale.Through their formal restraint and material sensitivity, the works draw influence from architectural spaces, objects and the natural and urban world.
Adam McGowan (b.1991 Ireland) holds a postgraduate degree (MA) in painting from the Royal College of Art, London, UK. Solo projects include Land, Hew Hood Gallery, London, UK, Inoyama, Commonage, London, UK, Open Construction, Galeria Mascota, Mexico City, Mexico. New Art Dealers, Galeria Mascota, Miami, USA, Light Industry, Gloam Gallery, Sheffield, UK. Other projects include Flatland Projects, Hastings, UK, Saatchi Gallery, London, UK, Gray Contemporary, Texas, USA. and others. Works held in numerous collections in the USA, Mexico and Europe.
AL’S OFFICE
Libby Boyd - A Point in Every Direction
"Libby Boyd mines the overlooked—graph paper, backing boards, blackboards, the marginal spaces where notation accumulates quietly before anyone names it art. Her practice operates in the productive gap between utility and expression, where functional marks become charged with unexpected meaning [...]
A backing board, freed from its supporting role, becomes the primary surface—revealing the incidental marks, the pressure points, the ghost traces of everything it once held up.
Her practice insists that meaning lives in the provisional, the unfinished, the accidentally eloquent. The work asks us to attend to what usually goes unnoticed: the scratch marks, the crossed-out attempts, the residue of thinking made visible.”
- Julie Durkin Marty, Artist and Curator
Libby Boyd (b. 2001) is an artist from Metro Detroit currently based in New York. In 2023, she received her BFA from the School of the Art Institute of Chicago. She has exhibited her work in solo and group shows across the U.S. including in Chicago and now New York. Boyd’s work is ever-influenced by her day jobs which have included custom framer, art handler, and teacher.
MELANIE’S OFFICE
Ben K. Voss - Book of Sand
The other day I’m exiting the subway onto the platform with lots of people coming and going in a rush-hour commotion although it's around three o’clock in the afternoon as I join a stream of people moving me as I see stairs up ahead and down below at an angle I notice something on the ground in between the criss-crosses of legs and arms and backpacks a slender little piece of paper resting on the floor that appears to be a fortune yet the words are light blue not red and that confuses me and intrigues me to see what it says because maybe its not a fortune and something else but you see I'm in the stream moving right along with no time to stop and I'm just nearly capturing the message registering it and suddenly it all dissolves like smoke signals as I'm right up the stairs out on the street between earth and sky and for a brief moment I forget where I'm going.
Ben K. Voss (b. 1980, Sinking Spring) utilizes painting as a site to articulate duration, the void, and (un)knowingness. Selected solo and two-person exhibitions include City, Long Play Contemporary, Santa Monica (2025); Springs, Sperling (Office), Munich (2024); Ripple, Rumpelstiltskin, New York (2024); Meeting, Weatherproof, Chicago (2023). Selected group exhibitions include Cessation, Benny’s Video, New York (2025); On Blindness, Nara Roesler, New York (2025); Small Paintings and Sculptures, 57W57 Arts, New York (2025); Unreal, Tourist, White River Junction (2021); Behind the Times, Chapter 5, Alyssa Davis Gallery, Online, (2020); Two to Tango Two, Sperling, Munich (2019). Publications include Imprints (2020) and IMPRINTS II (2025) with artist Midge Wattles and Chateau International, London; Springs with Mark Pezinger Books, Vienna, New American Paintings, NE Edition, 140 (2019); ArtMaze, Summer Edition 13 (2019). In 2026, he earned a MFA from Hunter College in NYC and currently lives and works in Brooklyn, NY.
A special thanks to Celeste Fichter for collaborating on Two Dragons.
SHELF
Christina van der Merwe - Geographies
"Let your imagination change what you know. Suddenly a gray rock becomes ashen or clouded with dream. A ring round a rock is luck. To find a red rock is to discover earthblood. Blue rocks make you believe in them. Patterns and flecks on rocks are bits of different countries and terrains, speckled questions. Conglomerates are the movement of land in the freedom of water, smoothed into a small thing you can hold in your hand, rub against your face. Sandstone is soothing and lucid. Shale, of course, is rational. Find pleasure in these ordinary palm worlds. Help yourself prepare for a life. Recognize when there are no words for the pain, when there are no words for the joy, there are rocks. Fill all the clear drinking glasses in your house with rocks, no matter what your husband or lover thinks. Gather rocks in small piles on the counters, the tables, the windowsills. Divide rocks by color, texture, size, shape. Collect some larger stones, place them along the floor of your living room, never mind what the guests think, build an intricate labyrinth of inanimates. Move around your rocks like a curl of water. Begin to detect smells and sounds to different varieties of rock. Give names to some, not geological, but of your own making. Memorize their presence, know if one is missing or out of place. Bathe them in water once each week. Carry a different one in your pocket every day. Move away from normal but don’t notice it. Move towards excess but don’t care. Own more rocks than clothing, than dishes, than books. Lie down next to them on the floor, put the smaller ones in your mouth occasionally. Sometimes, feel lithic, or petrified, or rupestral instead of tired, irritable, depressed. At night, alone, naked, place one green, one red, one ashen on different parts of your body. Tell no one.”
― Lidia Yuknavitch, The Chronology of Water
Christina van der Merwe (b. 1984, Pretoria, South Africa) lives and works in Brooklyn, NY. Solo and two-person exhibitions include City, Long Play Contemporary, Santa Monica, CA (2025), Untuning the Sky, Clark Island, Maine (2022); Calendar, Maake Projects, State College, PA (2021); Painting on a Porch, 57w57 Arts, Wilton, CT (2020). Group exhibitions include Jung Lovers, Soloway, Brooklyn, NY (2022); Behind the Times, Chapter 5, online, (2020); Biophilia, Unpaved Gallery, Yucca Valley, CA (2019). Her work has been published in ArtMaze, Issue 16, curated by Scott Ogden, Shrine, NYC.
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