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O'SULLIVAN's painting process salvages, expands and reinvents the coded icons and systems of modernity. Oil, crushed charcoal, marble dust & paper-mâché on canvas create an impastoed lexicon that subverts the rational philosophy or formal reductivism of the modern to create new verbal and pictorial prophecies.

O'SULLIVAN's visual mantra of masks, totems, improvised architecture and modeled figurative appendages is conjoined through an autonomous flow of current streaming from stoicism to hysteria. His influences combine elements of Paleolithic cave painting, the Baroque, Russian Suprematism and 20th Century American and German painting to generate a process of working that revels in a perpetual state of evolution and devolution.

The painting Pope NO (2009) portrays "the golden paramecium that slithers to the Darwinian finishing school of transcendence and into troglodytic form." The troglodyte figure, an individual that only roughly resembles a civilized human, is confronting the viewer with its otherworldly existence and innocent stare. With it the artist engages the raw id, utilizing an internal image bank of memories, invented forms and textures that have been codified and expanded to invoke a range of art historical language from the ancient to the modern.

O'SULLIVAN holds a BFA from The School of the Museum of Fine Arts, Boston (1999) and a MFA from the School of Visual Arts, New York (2006). He had a solo exhibition at The Happy Lion, Los Angeles (2006) and has been included in group exhibitions curated by Dan Cameron, David Hunt, Omar Lopez-Chahoud and Bob Nickas. He lives and works in Brooklyn, NY.

GALLANT's works are meticulously crafted paradoxes of absent presence and are heavily subsumed by the process of removal, subtraction and fragmentation.

The exhibition title refers to the definition of an ogee, a pointed arch having on each side a reversed curve near the apex. An ogee is a form most evident in the geometry of Flamboyant Gothic rose windows and was favored by 19th century decorative arts master William Morris in the underlying structure of patterns. In GALLANT's works, the ogee appears both literally and ontologically by bringing two motifs together through a process of removal and creating a montage contrasting fragile beauty with the obscene.

GALLANT's cut and layered silhouettes open up the language of collage and use it as a formal device to explore the strength of negative spaces. Among the Mournful is based on a detail from a Gustave Doré illustration for the Bible and is made from three sheets of paper: the first is a colored sheet, the second is cut pornographic magazine paper and the top is black cut paper. Replications of the simple folds of cloth, magnified and isolated, are seen grappling with the forms beneath them yet rest in a state of suspended animation.

GALLANT lives and works in London. Previous solo exhibitions include Museum 52 (London) and Changing Role-Move Over Gallery (Naples, Italy). GALLANT is included in the upcoming group exhibition Slash: Paper under the Knife at the Museum of Arts & Design (New York). Previous group exhibitions include Colette (Paris) and the Haifa Museum of Art (Israel).

castaneda/reiman here unite their mutual fascination with found landscapes and their ongoing concern with the relationship between the natural landscape and the desire for its representation in domestic spaces. At first glance, the installation appears to include these traditional landscape paintings. However, upon closer inspection, the installation is revealed as a collection of ersatz replicas constructed from plywood panels, drywall mud and other materials commonly found on construction sites - a methodology that has been consistently associated with castaneda/reiman's art-making practice throughout their nearly twenty year collaboration.

These replicas use the landscape imagery literally and conceptually as a foundation by printing them directly on the drywall surface. Just as landscape paintings function in domestic spaces as stand-ins or reminders of places or horizons, the representations in the installation serve as stand-ins for the paintings themselves. In the greater installation, oak hardwood details serve as symbols of how elements of the natural world are placed into the service of interior domestic landscapes. Units of stacked drywall are framed in oak, subtly and ambiguously suggesting the fabrication of a home or the framing of a painting.

These most recent sculptures and objects demonstrate a fundamental shift in castaneda/reiman's process. While still considering the architectural environment, their concerns have moved from the rigid structures that support a space to the residuum of materials reflected in those spaces. Through these sculptures, they rebuild and reinterpret the subjects of their collection into awkward and informal depictions of landscape collage.

castaneda/reiman are collaborative artists who live and work in the San Francisco Bay Area. In 2004 they were awarded the Fleishhacker Foundation Eureka Fellowship and have since been included in group exhibitions at the Oakland Museum of California and the Berkeley Art Museum. Their work is included in the permanent collection of the San Francisco Museum of Modern Art. This is their third solo exhibition with DCKT Contemporary.

AZZARELLA's source material here departs from his well known use of historical news footage to the realm of historic popular culture. AZZARELLA assiduously scavenges, modifies and rewrites, frame-by-frame, Michael Jackson's iconic Thriller video, directed by John Landis. Devoid of the title song and emptied of all figures, including the late King of Pop himself, the viewer has no choice but to take notice of the lush, vivid landscape.

Deserted streets, a foggy graveyard and a vacant movie theater become potential sites, waiting movie sets on which innumerable scenes could be played out. They remind us of our own projected fantasies and our desire to imagine ourselves inside popular culture. In noticing the emptied surroundings, we also question how the topography of a landscape affects the events within it and in turn how events affect the landscape.

This work also marks AZZARELLA's first foray into sound. The landscape that was once the backdrop to the song Thriller has been imbued with a full surround sound mix of ambient, localized and const