Intersections I: June 26 – July 11
Intersections II: July 17 – August 1
Andrew Reed Gallery is open Wednesday – Friday, 10 am to 6 pm and by appointment.
PATRON and Andrew Reed Gallery are pleased to present Intersections, a group exhibition in two parts. Embracing the role of the exhibition as a form of hospitality, hosting, and exchange, the project is structured as two consecutive visual conversations between artists from both gallery’s programs. The first installment will feature works by Soo Shin and Dan Attoe, followed by a second presentation pairing Nour Malas and Merik Goma. The exhibition becomes a conversation between two galleries—each with its own path, coming together to exchange ideas, perspectives, and possibilities.
Intersections I
Soo Shin’s work navigates the space between remembrance and becoming, using material and gesture to trace the invisible forces shaping identity and place. In Pas de Deux 3.13.24-8 (Pacific Ocean) (2024), the ocean becomes both medium and collaborator, inscribing movement onto paper as a ritual of memory and connection. Similarly, We, Dandelions #19 (2023) casts a fleeting bloom as a meditation on migration, dispersal, and persistence. For Shin, memory is not fixed but fluid—formed through what we return to, and what we allow to carry us forward.
Dan Attoe’s paintings evoke a sense of time that spans the past, present, and future, woven together through dreamlike imagery. These narratives often emerge from his unconscious and are further developed through his extensive writing practice. Attoe often blends humor, pop-cultural references, and imagined landscapes to stage a quiet critique of contemporary life. In Planetary Nebula (2025), miniature figures positioned beneath an expansive night sky draw viewers into their quiet contemplation, prompting reflection on the noise and distractions of contemporary life. The work collapses temporal boundaries, offering a meditation on how we remember, consume, and so easily overlook the fleeting beauty of the everyday.
Intersections II
Nour Malas engages memory not as static recollection but as a mutable terrain—felt, fragmented, and reassembled through form. Through layered gestures and intuitive use of color and form, Malas creates works that move between figuration and dissolution, capturing the quiet rhythms of daily life while preserving what is at risk of fading. Drawing on art historical references ranging from 16th-century religious iconography to 19th- and 20th-century modernist painting, Cosmic Glory (2025) stages a moment of collapse—where mythology, spirituality, vulgarity, and the everyday converge in a swirling meditation on belief, perception, and meaning.
Merik Goma’s photographs hold memory at a threshold—hovering between the lived and the imagined, presence and absence. Through carefully constructed sets and evocative lighting, he builds interior worlds where emotion unfolds with quiet intensity. In Dust to Dust (2020), a floor scattered with broken glass and debris evokes the aftermath of an unnamed event, its stillness made radiant through Caravaggian light. The work transforms remnants into reverence, offering a space where grief, beauty, and reflection quietly converge.
Soo Shin (b. 1981, Seoul, South Korea) lives and works in Chicago, IL. She received an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago, IL, and both an MFA and BFA in Painting and Printmaking from Ewha Women’s University, South Korea.
Dan Attoe (b. Bremerton, WA) lives and works in Washougal, WA. He received an MFA from the University of Iowa, and an BFA from the University of Wisconsin.
Nour Malas (b. 1995, Cannes, France) lives and works in New York, NY. She received an MFA in sculpture from the School of the Art Institute of Chicago, IL, and a BFA from Goldsmiths University, London, UK.
Merik Goma (b. 1987, Manistee, MI) received a BA in psychology from Fredonia University, Fredonia, NY.
