March 28 – April 25
Opening Reception: March 28th, 5 – 8 PM
Dallas, Texas — Environment is often understood as something external—the world that surrounds us. Yet it is just as much something internal, shaped by memory, emotion, perception, and presence. The spaces we move through are never entirely neutral; they carry the traces of how we experience them and how we imagine our place within them.
The exhibitions by Chris Stewart, Jon Krawczyk, and Arturo Mallmann challenge the idea of environment as something stable or fixed. Stewart dissolves landscape into fragments of atmosphere and memory. Krawczyk turns sculpture into a reflective instrument that captures
and distorts the space around it. Mallmann constructs psychological interiors where architecture, light, and figure merge into dreamlike tension. Across these three practices, environment ceases to function as scenery. Instead, it becomes something unstable—something shaped through perception, emotion, and the presence of the viewer.
Chris Stewart — In Between
In In Between, Chris Stewart explores the shifting terrain where memory and environment intersect. His paintings emerge from fragments of atmosphere, sensation, and lived experience rather than specific places. What appears on the canvas are not literal landscapes, but emotional echoes of environments that linger in memory.
Across the surface, layers of gesture and color accumulate and recede. Forms hover at the edge of recognition before dissolving again. The paintings hold a quiet tension between clarity and obscurity, effort and calm, presence and absence. Stewart captures the way environments evolve over time—not only physically, but emotionally.
Several works introduce subtle sculptural interruptions that fracture the painted surface. Cuts through the image expose the structure beneath, revealing fragility embedded within the work itself. Natural elements such as flowers and stones enter the composition, grounding the abstraction in the physical world while reinforcing the delicate boundary between constructed image and lived environment.
Jon Krawczyk — Colorfully Reflected
Jon Krawczyk approaches environment through sculpture, creating biomorphic forms that seem both organic and elemental. Working in mirrored stainless steel and richly patinated bronze, he produces objects that appear shaped by natural forces rather than human hands.
Krawczyk forms each sculpture by cutting sheets of metal and transforming them through welding, pounding, and focused heat. Because the works are never cast from molds, every sculpture remains unique, carrying the physical record of its creation.
In the highly polished stainless-steel works, environment becomes an active collaborator. The mirrored surfaces capture and distort the world around them, reflecting architecture, light, and viewers themselves. As one moves through the gallery, the sculptures continually reshape their surroundings, turning the space into a shifting visual field.
In contrast, Krawczyk’s bronze sculptures anchor the exhibition with their weight and geological presence. Their deep patinas of blues, greens, and earthy tones recall boulders or ancient formations worn by time. Together, reflection and solidity form a dialogue between fluidity and permanence, movement and stillness.
Arturo Mallmann — The Grip of Fear and Hope
Arturo Mallmann’s paintings unfold within vast, dreamlike spaces where the human figure confronts the fragile boundary between loneliness and solitude. Though these states may appear similar, they lead in opposite directions: loneliness confines us, while solitude expands our connection to the world around us.
Mallmann places his figures within monumental architectural environments that feel simultaneously intimate and overwhelming. These spaces are not simply settings, but psychological landscapes where the individual navigates fear, hope, and belonging. Suspended within these environments, the figure stands between retreat and participation, searching for a way to reconcile the self with the surrounding world.
Light plays a defining role in this tension. In Mallmann’s paintings, light does not obey natural laws but instead emerges as a presence of its own—a light that exists only within the painted space. It shapes the architecture, softens boundaries, and intensifies the emotional atmosphere of the work. The result is a series of images that feel suspended between dream and reality, fear and possibility.
[Photo: Instagram]
