Past
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Tender Giants
Amiko Li
November 01, 2024 – December 15, 2024The Circadian Support Cycle
Amy Chiao
September 06, 2024 – October 13, 2024Entre Dos Palmas
Angélica Maria Millán Lozano + Laura Camila Medina
July 05, 2024 — August 11, 2024After Boucher
Molly Jae Vaughan
May 03, 2024 — June 16, 2024Hand Me Downs
Frankie Krupa Vahdani
March 01, 2024 — April 14, 2024Homesick
Reem Al-Wakeal, Wiley + Sabrina (Bingyi) Spurlock, and Amy Chiao
November 03, 2023 — December 17, 2023live laugh lobotomize
Yuyang Zhang
September 08, 2023 — October 15, 2023At The Same Time
Rebecca Tennenbaum
July 07, 2023 — August 13, 2023Held Tight
Molly Alloy + Arielle Zamora
June 04 - August 07, 2022Second Honeymoon
Dana Robinson
April 02 - May 08, 2022Possessions, Possessions
Olivia Faith Harwood
January 29 - March 13, 2022The Longest Leg
Emmanuela Soria Ruiz
November 11, 2021 - January 09, 2022After Boucher
Molly Jae Vaughan
September 11 - October 24, 2021Resound
Angélica Maria Millán Lozano + Frankie Krupa Vahdani
July 17 - August 22, 2021umm no
Yuyang Zhang
April 15 - May 30, 2021Things that have to do with fire
Vo Vo
February 18 - April 01, 2021NO SANCTUARY
Panteha Abareshi + Kayley Berezney
December 17, 2020 - February 04, 2021Ambrosia
Grace Stott
October 15 - November 19, 2020Loopholes
Devin Harclerode + Laura Camila Medina
August 27 - October 04, 2020Patterning
Ophir El-Boher
April 18 - May 31, 2020American Hex
Christine Miller + Brittany Vega
February 01 - March 14, 2020A Thousand Cuts
B. G-Osborne
November 16, 2019 - January 10, 2020A Change of Light and other observations
Sammie Cetta
September 14 - November 08, 2019flat out
Brandi Kruse
July 20 - September 06, 2019A Thirst for Saltwater
Lehuauakea
May 25 - July 12, 2019
SUBLIMATION
Diana Palermo
March 30 - May 17, 2019Ego Placebo
Wiley
January 26 - March 15, 2019TREGUAS
Angélica Maria Millán Lozano
November 17 - December 20, 2018Current
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conjunctions
Mira Dayal
February 07, 2025 – March 16, 2025
Fuller Rosen Gallery is delighted to announce the opening of conjunctions, a solo exhibition by Mira Dayal and guest curated by Laurel V. McLaughlin. Featuring Dayal’s steel sculptures that reinterpret everyday objects tied to writing and narrative processing, conjunctions blurs the boundaries between tools, toys, and sculptures, emphasizing how objects can shift in function and meaning.
Join us for an opening reception of conjunctions at Fuller Rosen Gallery on First Friday, February 07 from 6-9 pm.
And don’t forget to celebrate with us at with us at Ulises on Saturday, March 01 at 5 pm for “Language Object Index: Artist Book Launch and Conversation” with Mira Dayal.
Mira Daya, Cat’s Cradle with Four Knots, 2023, steel
Mira Dayal’s “language objects” center on a lexicon of steel sculptures that allude to vernacular objects associated with writing, narrative, and textual processing. These sculptures, rooted in post-minimalist phenomenology, invite viewers to rethink object relationships and their roles in material manipulation and storytelling. What are the outer limits and overlapping properties of each object type? How does one shift into the other? The functions of the malleable source objects—to gather, to write, to record, to make an image or story—are notably altered in their more rigid steel counterparts.
Mira Daya, detail of Cat’s Cradle with Four Knots, 2023, steel
Multiply, attached, bent, doubled, solidified, scaled up, and reoriented, the formal play creates ambiguity, heightens emotional tension, and encourages associative readings. Through choices of subjects and exchanges of proportions, materials, and forms of labor, Dayal draws a triangulated relationship among tools, toys, and sculptures. A tool, repurposed or disassembled, can tell us something about what we were meant to make with it. Likewise, a toy taken seriously can show us what we’re invited to invent or lead us to other games we could play.
Among these sculptures emerges a motif of loops tethered by conjunctions—parts that are sutured or knotted or linked together, like words strung together in a sentence. See the stapled twist of a Möbius strip or the tied string figure of the game “cat’s cradle,” two forms that inspire sculptures in this ongoing series. At first glance, such works evoke toys more than tools or sculptures. Yet, these objects not only propel important mathematical theories, but also demonstrate the poetics of material manipulation, hold abstract narrative potential, and push expectations of scale.
Illustrations of a Cat’s Cradle from Caroline Furness Jayne’s String Figures and How to Make Them, 1906
This tool-toy-sculpture triad, and the heightened attention to things we usually make meaning with, conjures an object-oriented ontology; in which things affect non-things in our shared world. In setting up this triad, Dayal practices a post-minimal study of phenomenology—of how people perceive and experience objects—emphasized here through the sculptures’ proportionality to the artist’s body and the labor required to produce these unwieldy, individual versions of small, ephemeral, and mass-produced objects. Building on Dayal’s prior exhibitions about the materiality of imaging technologies, language processing, machine learning, and precursors to writing, conjunctions teems with propositions for continued manipulation, embodied interaction, and webs of signification.
Mira Dayal (she/her) is an artist, writer, editor, and educator based in New York. She produces systems of sculptures that respond to a site’s architecture or history, involve subtle but laborious uses of everyday objects and materials, critically reflect on changing technologies, and expand the limits of language and image. Dayal has held solo and two-person exhibitions at Princeton University, NJ; Spencer Brownstone Gallery, New York; Kunstverein Dresden, Germany; Gymnasium, Brooklyn; Lubov, New York; NARS Foundation, Brooklyn; and Abrons Art Center, New York.
Dayal has participated in group exhibitions at the Hessel Museum of Art, Annandale-on-Hudson, NY; Feral File; Barnard College, New York; Miriam, Brooklyn; lower_cavity, Holyoke, MA; Parent Company, Brooklyn; Apparatus Projects, Chicago; Artspace New Haven, CT; OCHI, Los Angeles; Hesse Flatow, New York; NURTUREart, Brooklyn; and other spaces. She has participated in residencies at Ox-Bow, Art in General, and A.I.R. Gallery. Dayal recently coedited Track changes: a handbook for art criticism (Paper Monument, 2023) and co-publishes the collaborative artist book series prompt:. As an editor and writer, she has contributed over the past decade to numerous art magazines and museum exhibition catalogues. Dayal is on faculty at Barnard College, Parsons School of Design, and the School of Visual Arts, and has previously taught at Hunter College and the International Center of Photography.
Laurel V. McLaughlin, PhD (she/her) is the Curator and the Director of the Collective Futures Fund at Tufts University Art Galleries. A writer, curator, art historian, and educator, her work has been supported by the Terra Foundation for American Art, the Helen Frankenthaler Foundation, the Dutch Consulate of New York, Acción Cultural Española, The Sachs Program for Arts Innovation, University of Pennsylvania, and the Andy Warhol Foundation for the Visual Arts, and she is currently undertaking a 2022 Andy Warhol Curatorial Research Fellowship for a forthcoming exhibition How do you throw a brick through a window... at Tufts University Art Galleries in collaboration with Tanya Gayer and the John Michael Kohler Arts Center.
McLaughlin’s scholarly and curatorial writing has been published in Art Papers, BOMB Magazine, Sculpture Magazine, The Brooklyn Rail, Contact Quarterly, Performance Research, ASAP Journal, women & performance, and te magazine, among others. Forthcoming writing from McLaughlin is featured in Prospect.6: the future is present the harbinger is home (Prospect, 2025), Women’s Innovations in Theatre, Dance, and Performance (Bloomsbury's Methuen Drama 2025), and “On Breath,” Performance Research, Vol. 29, No. 3. (2025). She recently contributed a collaborative text with artist Mia Habib in Bare Bodies—Thresholding Life, published by De Gruyter GmbH and co-edited the multidisciplinary reader Tania El Khoury’s Live Art: Collaborative Knowledge Production (Amherst College Press 2024).