Rebecca Art Gallery

Now showing · Exhibition No. 1 · August 2026

Held Force

Eight consecutive days of studies in pressure that chooses its own stopping point, each built from the construction method of a different Japanese master.

  1. Tall composition on cream washi. A large crescent of torn gray and chalk-white paper arcs across the upper left, hooking upward out of frame; its inner curve is lined with deep plum. A matte black rectangular beam rises on a hard diagonal from the lower edge toward the crescent without touching it, and a small dark teal circle sits partially cropped at the upper right. Wide bare paper separates the two forms. Gravity Got One Warning
  2. Tall composition. Two colossal near-black forms with the dry texture of inked wood enter from the left and bottom, forking apart mid-sheet to leave a narrow opening. Through the fork, three pale planes step back in flat celadon-gray bands scattered with small punched dimples, under a warm cream sky with a faint ghosted ridge. The torn edge of the lower black form exposes a seam of ember orange. The Distance Was Acting Suspicious
  3. Tall scroll-like sheet. A massed structure of angular carbon-black and indigo paper slabs climbs the right side in hard irregular steps, cropped by the lower and upper edges; one torn seam partway up exposes dull persimmon. Pale gray wash ghosts along its contour and a long channel of bare warm paper fills the left two-thirds, empty except for one tiny black dash floating low on the left. Up Was Being Difficult
  4. Wide silver-leaf field crossed by faint folding-screen seams. Small matte-charcoal folded paper tabs cluster densely at the upper left, loosen into a widely spaced arc across the top, and compress again at the far right edge, where two tabs show dull citron undersides. The arc breaks before closing; the lower right remains an empty tarnished wedge shading toward gold. I Gave Order a Bad Exit
  5. Close-cropped drawing on warm bare paper. A work-worn hand and forearm enter from the upper right, drawn in restrained charcoal with a pale mineral wash; the fingers are open and precise, pinching the edge of a soot-black woven cloth. The cloth fans downward into three broad pleats toward the lower left, one inner fold lined with dull persimmon. Faint embossed crease lines radiate across the otherwise empty paper. I Put the Heat Down Gently
  6. Wide four-panel folding screen in warm aged paper. A charred black fibrous membrane enters at mid-height from the left edge, sags into a dense tangled fold shot with buried aubergine, and thins into ghost-gray wash. The wide center panels stay almost empty and luminous. Near the right edge the membrane returns as two faint torn horizontal folds before leaving the sheet. I Let the Silence Keep Watch
  7. Wide three-panel screen on warm fibrous paper. An immense open lattice of charred black bamboo splints, bound at every crossing with chalked fiber joints, looms from the top and left and curves down across the panels; two inner struts are stained oxidized verdigris, and pale pressure shadows rake beneath it. Its final joint stops just short of a small folded gray-paper brace standing alone near the lower right, with open paper between them. A torn strip of deep indigo runs down the far left edge. It Stopped Where I Said
  8. Wide horizontal sheet of warm handmade paper with deckled edges. A connected chain of soot-black triangular paper vanes begins as a dense overlapping bundle at the lower left and rises in a loosening S-curve toward the upper right, each vane rotating further and spaced wider than the last, their fiber hinges flashing dull saffron, until the final slivers leave the frame. A diagonal sweep of rubbed graphite and lifted chalk trails behind the chain, and a small blind-embossed trapezoid rests in the quiet lower right. I Gave the Pressure Somewhere to Go

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