Canopy Studio, 508 W. 26th St. #6E

December 20-22, 2025

Opening

Thursday, December 20, 6-8 pm

Closing

Saturday, November 22, 3-5 pm

Bodies of Time is a pop-up group exhibition celebrating the work of nine artists who worked together for one year with their Canopy Mentor, Sara Jimenez, as part of the 2025 Canopy Program.

An artist’s body of work is a temporal thing: it’s proof that she was there in the studio, over hours and days and months, making. But beyond simply being selections from each such “body of time”, the works in this show are directly concerned with the interplay of time and body. Through painting, drawing, sculpture, video sculpture, and installation, the artists interrogate the physical body as made of or by time, or conversely, a period of time as a physical presence.

The body’s sensitivity to its position in time – relative to the time of day, an individual lifetime, or the present cultural moment – is central to many of these artists’ practices. Imbued with tension, skin and organs bear the weight of experience in Erika Choe’s fleshlike sculptures. The figures in Kelly Ahern’s paintings are contorted and warped to the edge of recognizability, manipulated by hindsight. Michelle Cherian’s canvasses barely contain the somatic gestures which burst out as if in an instant of insight. In Casey Alfstad’s video sculptures, lumpy clay body parts are the container and context for trippy animations which interrogate today’s assumptions about normalcy and reality. Even the body’s absence, as in Antoinette Wysocki’s installation piece evoking a memory of looking to the future, is felt viscerally.

The works in this show are also records of time, not as a series of instant-nows, but as accretions, as warps and folds, as pulls and stretches, as celestial bodies, as exhales. Through Cee Cee Belford’s use of light and color in her bed paintings, the titular object completely embodies each time of day in which it finds itself. Sonjie Feliciano Solomon’s paintings simultaneously evoke clouds radiant in the sunset and the steady ritual of a breathing meditation. In Lucia Korpas’s wall-hanging ceramic works, night and day are like characters coexisting uneasily with the entity of the landscape. Detritus of daily life accumulates into the dimensional form of Victoria Carter’s paintings, the colorful skin of which in turn is resolved over months.

As a whole, Bodies of Time traces the artists’ shared year of inquiry into material and duration. What emerges is a testament to process—the accumulation of gestures through which time and body become visible. Through them, we glimpse how art can hold time, stretching it tight or folding it gently, and reveal its human scale.