Jan Razauskas, thirtytwo, acrylic on MDF panel, 10 x 8 inches

Gigantic Brain

Sophie Grant
Jan Razauskas

curated by Natalee Cayton and Amanda Turner Pohan for TWOFORTY

Opening Friday, January 12, 7-9 pm

On view by appointment January 13th - February 11th
Gigantic Brain features new monoprints and paintings by Sophie Grant and Jan Razauskas.

Grant’s monoprints reify a peripheral psychedelia, bringing together sharp-edged saturated forms with soft veils of crayon. Her variously layered marks and shapes offer tender nodes of entry and impenetrable boundaries that vibrate on backgrounds of washy texture. Intricate voids seemingly create works within works, portals into a history of painting and printmaking that emphasises sophisticated play.

In the paintings by Razauskas, color fields appear to be caught in tectonic shift. In the charged moments where haptic color-forms meticulously overlap, conflict, breed, or barely touch, these tightly choreographed surfaces intimate a longing for making contact. Evolving out of geometric abstraction and non-objective painting, Razauskas propagates a world for sentient forms.

Like the “thinking ocean” on the planet Solaris* that is thought to be a gigantic omniscient brain, the color and form in the works included in the exhibition dissect the dichotomous limits of representational and non-representational, human and non-human. Surface tension becomes the lens for seeing entities, otherworldly landscapes, microcosms - a mind and a brain. Through compositional rigor, Grant and Razauskas complicate what we think we see, inviting the viewer to consider the way we perceive the tangled world in which we live.

*Stanislaw Lem, 1961


My studio will be open as part of Tribeca Art + Culture Night

November 15, 2017 from 6-9pm


Matinee Projects

Press Release
In the questionable language of perfumery, “notes” describe the order of perception. “Heart notes” emerge right after the initial lightness of surface and mask but eventually reveal the heavy finality to come. Heart notes are rounded. Through a bewitching intoxication, they create transitional spaces. The experience of one note’s presence might alter the perception of others.

Referencing experimental abstract painting coming out of NYC in the late 60s and early 70s (the alternative materials, processes, and installation practices of artists like Al Loving, Alan Shields, Elizabeth Murray and Joan Snyder) Grant is energized by the elasticity of the medium of painting— the freedom and complexity therein— and the demands for continual plays with perception in the political turmoil of now.

Within this show, Grant balances a two-sided sculptural painting within a constellation of monoprints made during her recent residency at The Lower East Side Printshop. Grids exist in conversation with pervasive psychedelia. Squares resemble garden plots teeming with lush life. Influenced by the mosaics in Sicily and the folding structures of Japanese screens, these works use shifts in scale, producing moments of expansiveness beside those more planktonesque. Various paint handling techniques recall a gritty planet surface or the rendered pattern of a tiled floor. Grant’s cosmology of spirals, waves, holes, orbs and blooms are indebted to her careful attention to organic materials, life cycles, and fluidity.

Born from an interest in portability and accessibility, the screen at the center of this exhibition neither relies upon nor denies a wall as support. The orientation of the voids in the painted screen, in their very openness and flexibility, allows one to see through the screen into the surrounding environment. Depending on where bodies inhabit the space, the interaction between screen and setting creates a fragmented and staggered arrangement. Islands, vacuums, and bouquets are populated with forms and textures, observed and obscured.

All together, these works are concerned with the complexity of seeing. Unconfined by binaries (recto/verso, inside/outside, surface/volume), the freestanding work at the heart of this show contradicts these dualities with an accordion potential. The monotypes, speaking through a language indebted to collage and graphic design, utilize multiple layers, negative space, shadows and seriality. Ceramic pieces with mirrored glaze reflect and agitate through their three dimensionality. Glass beads atop the canvas magnify painted gestures and create a light indeterminacy. Familiar, yet odd, the punchy colors and patterns echo color field painting and Pucci scarves. As these notes bleed into each other, they become devices for viewing the world, reflecting our come-ups and crashes.




Left Field Gallery

1242 Monterey, St.
San Luis Obispo, CA
OPENING RECEPTION: Friday, June 2nd, 6 - 9 p.m.

Marissa Bluestone
Sophie Grant
Meena Hasan
Miriam Hitchcock

Curated by Cal Siegel



May 4 - June 15, 2017
Opening Reception: May 4th 6-9pm
Skowhegan Program Space
New York, NY

Personals is an exhibition of small objects on a large conference table. Works by 100 Skowhegan alumni spanning 65 summers and 6 countries are joined in an installation that is inherently about making room for others and connecting with one’s peers.


April 12th - May 11th 2017
OPENING RECEPTION: Wednesday April 12th, 6 - 9 p.m.

Sophie Grant
Maryam Hoseini
Eric Mack
RJ Messineo
Sophy Naess
Jennifer Packer
Rit Premnath
Em Rooney


We the Watchers are Also Bodies is a painting exhibition presenting the work of eight New York-based contemporary artists. The project is organized around four assumptions regarding the relationship between painting and the body:

First assumption: the process of paying attention—to form, to people who would otherwise suffer from invisibility, to the images that tell us what is true and how to live—is one of the most important political tasks we can engage in on a day to day basis.

Second assumption: the point of painting is really to make us aware of our capacity for attention. It doesn’t ask us to pay attention to anything in particular; it is addressed to the phenomenon of attention itself. To the very structure of our watching.

Third assumption: there is contemporary painting that insists on the fact that attention implies a body and there is contemporary painting that is still invested in an abstract, disembodied form of vision.

Fourth assumption: politics that disavow the body are vicious.

The artists in "We the Watchers are Also Bodies" conceive of painting as that which pictures the structure of watching, but their paintings remain objects that remind the viewer that watching takes place with the body.

"We the Watchers are Also Bodies" is the third iteration of NM Llorens’ on-going curatorial research on the critical value of contemporary painting. The first was a performative lecture with Marley Freeman as part of a curatorial residency at Triangle Arts Association in Dumbo. The second was a curatorial practicum seminar at Eugene Lang and an exhibition curated with the students entitled Syntagma.

Natasha Marie Llorens is an independent curator and writer based between New York and Marseille, France. She is a graduate of the Center for Curatorial Studies at Bard College and a Ph.D. candidate in art history at Columbia University. Her academic research is focused on violence and representation in Algerian national cinema from the 1960s and 1970s.

Saturdays and Sundays
12-6pm, and by appointment

25 Park Place, 3rd Floor
New York, NY 10007


Lower East Side Print Shop Keyholder Residency awarded October 1, 2016


High Desert, Inner Space at Santa Fe Art Institute, NM

August 26 - Sep 2
Participating artist:
Scott M Anderson, US
Malene Bach, DK
Jesse Chun, KR
Jesper Dyrehauge, DK
Johanne Skovbo Lasgaard, DK
Geoffrey Owen Miller, US
Sophie B Grant, US
Jason Baerg, CA

From Aug. 26th to Sept. 2nd the group show High Desert, Inner Space will be on view in the William T. Lumpkin’s Studio at the Santa Fe Art Institute in New Mexico. The exhibition is thematically inspired by William Lumpkin’s multifaceted oeuvre as an artist: his long-term devotion to the New Mexican landscape in his paintings and watercolors; his spiritual influences from Zen Buddhism and involvement with the Transcendental Painting Group; and his innovative designs within adobe architecture and passive solar technology.

The art works selected for High Desert, Inner Space relate to Lumpkin’s range of interests in each their own way and all posses a great sensitivity and understanding of color, space, light and texture. The show is organized by Harpo Fellow, Annesofie Sandal who is currently Artist in Residency with Santa Fe Art Institute.

William Lumpkins Studio
Santa Fe Art Institute
1600 St Michaels Drive
Santa Fe, NM 87505


Hercules Art Studio Program

Inaugural Exhibition, curated by Andrea Woodner
May 5 - 21, 2016
Open hours Mon-Sat 2-6pm

25 Park Place, FL 3
New York, NY


Underdonk Selects
Benefit Auction
December 5-18, 2015
Opening Saturday, Dec. 5th, 7-10pm

Underdonk Gallery
1329 Willoughby Ave #211
Brooklyn, NY 11237
L train to Jefferson St


Field Projects

Curated by Lauren Haynes

Dates: November 5th - December 19th, 2015

Opening Reception: Thursday, November 5th, 6-8pm

Field Projects is pleased to present IMPOSSIBLE GEOMETRIES, curated from Field Projects’ recent open call by guest curator LAUREN HAYNES, Associate Curator, The Studio Museum in Harlem. The exhibition features work by Cudelice Brazelton, Tom Butler, Sophie Grant, Shanti Grumbine, Robin Kang, Tina Kohlmann, Khánh H. Lê, Maria Lienaba, Megan Mueller, Alisa Ochoa, Mary Tooley Parker, Sarah Von Puttkammer, Sarah Schneider, Millee Tibbs, M. Giovanni Valderas, Fiorella Gonzales Vigil, and Stephanie Woods.


Whomsoever or Wheresoever May Rest the Present
A group exhibition with artists Sophie Grant, Changha Hwang, Zaun Lee and Geoffrey Owen Miller.

400 S 2nd St, Brooklyn, NY 11211
Opening Reception: Saturday, October 17th 2015 - 7-9pm

"Whomsoever or Wheresoever May Rest the Present" is a reference by Ada Lovelace, the woman who is crediting with being the first to imagine computers and AI. Ada Lovelace was an English mathematician and writer, chiefly known for her work on Charles Babbage's early mechanical general-purpose computer, the Analytical Engine. Her notes on the engine include what is recognised as the first algorithm intended to be carried out by a machine. Ada described her approach as "poetical science" and herself as an "Analyst & Metaphysician". Her "Notes" contain what many consider to be the first computer program - an algorithm designed to be carried out by a machine. Her mind-set of "poetical science" led her to ask questions about the Analytical Engine examining how individuals and society relate to technology as a collaborative tool.


Hand, Finger, Digit
An exhibition of work by Kate Elliot, Sophie Grant, Megan Pahmier, Katie Schwab and Gabriela Vainsencher
The Old Hairdressers, Glasgow, United Kingdom
Opening Reception: July 27, 2015


Art of the Northeast 65th Annual Exhibition
Silvermine Arts Center, New Canaan, CT
Curators: Michelle Grabner & Brad Killam
June 6th - July 26th, 2015
Opening Reception: Saturday, June 6th, 6-8pm


Atlantic Center for the Arts, New Smyrna Beach, FL
Artist in Residence May 18th - June 7th, 2015
Master Artist: Inka Essenhigh


Right of Window
Sophie Grant & Jenna Westra

Performances by Constance DeJong, Emmy Catedral & Sarada Rauch

May 16th - June 7th, 2015
Opening Reception: Saturday, May 16th, 7-10pm
Saturday - Sunday, 1-6pm & by appointment

87 Richardson St.
Brooklyn, NY 11211