Eden Deering

Eden Deering (b. 1991) is a New York City based curator and director at PPOW. Deering has organized numerous solo and group exhibitions with the gallery including Anton van Dalen: Junk Culture, 2019, Do You Love Me?,2019, Noplace, 2020, Recovery, 2021, and a forthcoming group exhibition opening in October 2022. Deering also co-runs the curatorial project DUPLEX since 2016, which has collaborated with organizations such as Visual AIDS, The Box NYC, and Planned Parenthood. Deering was recently featured in The New York Times style column ‘Up Next’.

Heidi Lau

Born 1987 in Macau. Lives and works in New York, NY.

“Heidi Lau’s practice exists within the disappearing identity of home. Taking the shape of ritual, domestic objects, and large-scale zoomorphic sculptures, Lau’s ceramic miniature worlds are at once alive and fossilized. Investigating the architecture of memory, nostalgia, and displacement, Lau engages in reconstructing what her hometown of Macau has repeatedly lost to the powers of colonialism and empire, most recently since 1999 when sovereignty was passed from Portugal to the People’s Republic of China, resulting in the merciless erasure of neighborhoods and cultures. Like pulling memories from a dreamlike underworld, Lau’s practice is a process of recovery. Combining Taoist mythology, folk superstitions, and Macau’s complex and difficult history, Lau uses the ancient art of clay to honor and provide a resting place for people and places who no longer have a physical body, ultimately creating space for collective remembrance and mourning.”

Artwork Image: Bestiary (The Play), 2021.

Nereida Patricia

Born 1996 in Hudson, NY. Lives and works in Chicago, IL. 2020 BA, School of the Art Institute of Chicago, Chicago, Il.

“What I love about Nereida Patricia’s practice is its impulse—through sculpture, text, painting, and performance—to communicate new forms of storytelling and provide new mythologies, both for herself and for racially and gender marginalized groups who endure prejudices that in many cases can result in violence or death. Mining personal experiences of resilience and survival, and examining postcolonial feminist theory and Peruvian symbolism, Patricia builds a nuanced visual language about the transformation of the human and the collective body. Her highly-detailed glass beaded relief sculptures are inspired by traditional Chilean arpilleras, brightly colored patchwork burlap textiles constructed by mostly female makers to expose the human rights violations of the military dictatorship of Augusto Pinochet (1973-1990). Patricia’s work echoes such forms of protest art, chronicling fictionalized versions of herself and members of queer communities, as well as those living and working in the streets on their hero’s journey towards survival and sanctuary.”

Artwork Image: Guardian Angel, 2020. Glass beads, concrete, glass dust, acrylic, and paper clay on canvas. 72 x 60 x 4 in.

Iagor Peres

Born 1995 in Rio de Janeiro, Brazil. Lives and works in Recife, Brazil.

“I was drawn to the work of Iagor Peres for its tactility and ambiguous relationship to the body. A Brazil-based sculptor and performance artist, Peres began his career in dance and theater, the threads of which can be seen in his immersive installations which combine text, video, objects, and performative acts. Experimenting with both organic and synthetic materials, Peres’s eerily corporeal sculptures ebb between body, object, architecture, and personhood. Generated from the perspective of a racialized body, Peres’s practice makes visible the invisible substances of relationships between spaces, people, and social structures. Peres’s practice is shaped by his personal experiences and his political engagement with Black communities in Brazil. Aiming to transform society’s process of categorizing human beings, Peres gives voice to historically subjugated and dehumanized communities in order to dismantle forms of racial violence.”

Artwork Image: Strucuture for denses fields #1, 2020. Skin material and iron.