The exhibition title 'Attrition' nods to the presumption that disintegration

implies inevitable doom. Yet, in both the art world at large and in the

practices of the artists gathered here, the notion of gradual collapse instead

points toward the potential for reanimation—often with varying degrees of

severity and renewal.

The artists on view range from YBA breakout and institutionally celebrated

Sarah Lucas (b. 1962), who has been creating rigorous, genre-defying

works for more than five decades, to Los Angeles–based mixed-media

practitioners Paul Sietsema (b. 1968) , Patrick Carroll (b. 1991) , and

Artem Nanushyan (b. 1997). The show also features work by three rising

New York artists—Christopher Gambino (b. 1996) , Brittany Adeline King

(b. 1997), and Willa Wasserman (b. 1990)—each offering a distinct

approach to the exhibition’s central theme.

Gambino’s assemblages of sourced and found objects subvert gender

conventions, combining Baroque weaponry, domestically scaled antiques,

stockings, and discarded heels cast in resin. His works hover between the

absurd and the sexually charged, exploring the tensions between ornament,

violence, and desire.

   Brittany Adeline King’s modular practice involves constructing silhouetted

figures from hand-sewn paper parts and found materials. Building on her

earlier painting practice, King’s figures now occupy new, less conventional

space—by turns frank, playful, and self-possessed.

Two works by Willa Wasserman demonstrate the spectral versatility of her

practice: figures that appear both in the act of forming and of fading away,

poised between presence and departure.

Across these diverse practices, Attrition contends that little about the world as

we know it is ever fixed. The promise of dissolution implies within it the

possibility of evolution—and, in its most idealized sense, transcendence.