Instagram Story Save

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

Contemplating our daily interactions with nature, @roartservices and @project_art_distribution present the work of @assafevron and @unluckysnakesale in Booth E1 and @marthapoggioli through the Sculpture Program at NADA NY 2026.

Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.

The fair opens today at the Starrett-Lehigh Building, located at 601 W 26 St., New York, NY, and will remain open through Sunday. DM or email me at roartservices@gmail.com for PDF or viewing room.

I Want to Believe Sea Cucumbers are Happy @museums_of_bat_yam the sphere of the atlas a show dedicated to #abywarburg curated by #oritbulgaru @adidaha #photography #berndandhillabecher 📷 @danielhanoch

Happy birthday @jonah_is_sending @yonahmightbemekeep on flying ❤️‍🔥

@barely_fair is the real deal! thanks for including me @juliuscaesarchicago @roartservices @roropaints @_tony_lewis_ @k8sierz very lucky to share the booth with @jeffprokash and @piggys_palace dream team 🥚🥚🥚🥚🥚🥚🥚🥚🥚🥚🥚🥚🥚🥚🥚🥚🥚

So happy to be part of @osmos.online magazine issue 30! Thank you @osmos.online @roartservices@roropaints for making the work happen. And lucky to be in conversationwith the brilliant @twilight_arc @jennyperlinstudio

So happy to be part of @osmos.online magazine issue 30! Thank you @osmos.online @roartservices@roropaints for making the work happen. And lucky to be in conversationwith the brilliant @twilight_arc @jennyperlinstudio

So happy to be part of @osmos.online magazine issue 30! Thank you @osmos.online @roartservices@roropaints for making the work happen. And lucky to be in conversationwith the brilliant @twilight_arc @jennyperlinstudio

So happy to be part of @osmos.online magazine issue 30! Thank you @osmos.online @roartservices@roropaints for making the work happen. And lucky to be in conversationwith the brilliant @twilight_arc @jennyperlinstudio

So happy to contribute to the Harvard Design Magazine @harvarddesignpress and support the beautiful project by @kwongvonglinow with some lake sunrise photographs thank you @kwstewa for including me

So happy to contribute to the Harvard Design Magazine @harvarddesignpress and support the beautiful project by @kwongvonglinow with some lake sunrise photographs thank you @kwstewa for including me

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

ro art services opens a solo exhibition of Assaf Evron today. Open from 12-6 with an opening from 6-8 at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

The exhibition will be open Sun and Mon 12-6 before resuming normal OSMOS hours, 12-6 Thurs-Sat

Opening next Saturday, October 25th in NYC:

ro art services is delighted to announce a solo exhibition of Assaf Evron. Taking place at OSMOS’s exhibition space, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Thank you @newcitymag for including me is this great list. Thank you @johnpreus for the nice words and @mietustouch for the beautiful 📸 also thank you @alanrh for the awesome T shirt #rolandbarthes

Thank you @newcitymag for including me is this great list. Thank you @johnpreus for the nice words and @mietustouch for the beautiful 📸 also thank you @alanrh for the awesome T shirt #rolandbarthes

Thank you @newcitymag for including me is this great list. Thank you @johnpreus for the nice words and @mietustouch for the beautiful 📸 also thank you @alanrh for the awesome T shirt #rolandbarthes

Thank you @newcitymag for including me is this great list. Thank you @johnpreus for the nice words and @mietustouch for the beautiful 📸 also thank you @alanrh for the awesome T shirt #rolandbarthes

So happy to receive @coupe_international Vol. 4 🏎️🏁publication. such a pleasure to share the stage with co-driver @l.a.u.r.a.w.a.g.n.e.r . Thank you @mi.stra for being the brain the curator the producer and the publisher of this long lasting project. Thank you @lisaortnerkreil for the thoughtful text. @eti.ennethierry for the translation and copy editing. @christian_schienerl for the design and @park_wien for hosting the exhibition in the most beautiful space. Can’t wait for Vol. 5 in Seoul!

So happy to receive @coupe_international Vol. 4 🏎️🏁publication. such a pleasure to share the stage with co-driver @l.a.u.r.a.w.a.g.n.e.r . Thank you @mi.stra for being the brain the curator the producer and the publisher of this long lasting project. Thank you @lisaortnerkreil for the thoughtful text. @eti.ennethierry for the translation and copy editing. @christian_schienerl for the design and @park_wien for hosting the exhibition in the most beautiful space. Can’t wait for Vol. 5 in Seoul!

So happy to receive @coupe_international Vol. 4 🏎️🏁publication. such a pleasure to share the stage with co-driver @l.a.u.r.a.w.a.g.n.e.r . Thank you @mi.stra for being the brain the curator the producer and the publisher of this long lasting project. Thank you @lisaortnerkreil for the thoughtful text. @eti.ennethierry for the translation and copy editing. @christian_schienerl for the design and @park_wien for hosting the exhibition in the most beautiful space. Can’t wait for Vol. 5 in Seoul!

So happy to receive @coupe_international Vol. 4 🏎️🏁publication. such a pleasure to share the stage with co-driver @l.a.u.r.a.w.a.g.n.e.r . Thank you @mi.stra for being the brain the curator the producer and the publisher of this long lasting project. Thank you @lisaortnerkreil for the thoughtful text. @eti.ennethierry for the translation and copy editing. @christian_schienerl for the design and @park_wien for hosting the exhibition in the most beautiful space. Can’t wait for Vol. 5 in Seoul!

I Want to Believe Sea Cucumbers are Happy #wip #typology #bechers #berndandhillabecher #seacucumber #photography #contemporaryart #underwater #underwaterphotography

ASSAF EVRON & LAURA WAGNER | coupé international vol.four

#coupéinternational #assafevron #laurawagner #michaelstrasser #exhibition #contemporaryart #parkingspace #park#mondscheingasse #neubau #wienliebe #wienschöntrinken #wienmalanders #faltersbestofvienna #shotoniphone #igersvienna #igersviennaclassics #igersaustria #nofilter #justgoshoot #photooftheday @assafevron @l.a.u.r.a.w.a.g.n.e.r @mi.stra @coupe_international @bildrecht_bildraum @parkingspace_wien @park_wien @faltersbestofvienna @derstandardat @igersvienna @igersaustria.at @stadtwien