at Fairmont Hotel
1717 N. Akard Street, Dallas, TX 75201
Room 1709
Thursday, April 4, 11AM – 6PM
Friday, April 5, 11AM – 6PM
Saturday, April 6, 11AM – 6PM
Guillaume Dénervaud
Do you think it’s a hybrid?, 2024
tempera and oil on linen
48 x 32 5/8 in (122 x 83 cm)
Guillaume Dénervaud
The Impulsive Life Cycle of a Cell, 2024
tempera and oil on linen
48 x 32 5/8 in (122 x 83 cm)
Covey Gong
Portrait of a Lady, 2020
bronze
7.5 x 5 x 2 in (19.1 x 12.7 x 5.1 cm)
Covey Gong
Portrait of a Lady, 2023
bronze
7 x 5 x 1.25 in (17.8 x 12.7 x 3.2 cm)
Olivia Hill
Stone Formation #2, 2024
oil and acrylic on canvas
18 x 24 in (45.7 x 61 cm)
Olivia Hill
Dirt Bike Trails in Walker Canyon #1 33°47’02.3″N 117°25’43.4″W, 2024
oil and acrylic on canvas
24 x 30 in (61 x 76.2 cm)
Alexandra Noel
Cutting Pieces from the Smaller Bread, 2022
oil and enamel on panel
5 x 7 x .75 in (12.7 x 17.8 x 1.9 cm)
Alexandra Noel
Windy I, 2022
oil and enamel on panel
4 x 3 in (10.2 x 7.6 cm)
Alexandra Noel
A Bullfighting Bull’s Horn, 2023
oil and enamel on panel
6 x 9 x .75 in (15.2 x 22.9 x 1.9 cm)
Alexandra Noel
Still Waiting for More Land, 2022
oil and enamel on panel
6 x 7 x .75 in (15.2 x 17.8 x 1.9 cm)
Ben Sakoguchi
Bobby Soxers Brand, 1995
acrylic on canvas, pine frame
10 x 11 in (25.4 x 27.9 cm)
Ben Sakoguchi
Baseball Camp Brand, 2008
acrylic on canvas, pine frame
10 x 11 in (25.4 x 27.9 cm)
ARTIST BIOS
Guillaume Dénervaud’s works are often composed in dense, though congruous, arrangements of ambiguous motifs that evoke plant matter, machine parts or cellular structures. His paintings and drawings are visions of systems and environments that collapse distinctions between the organic and the built, the microscopic and the galactic.
Guillaume Dénervaud (b. 1987, Fribourg, Switzerland) lives and works in Paris. He studied at the École des artsappliqués, Geneva and at HEAD, Geneva. Dénervaud’s solo shows include Atrata, St.Croix Chapel – Angles-sur-l’Anglin (forthcoming); Atrara, Paris (forthcoming); Antenna Space, Shanghai (forthcoming); Gregor Staiger, Zurich (2024); Swiss Institute, New York (2023); Bel Ami, Los Angeles (2023); Centre D’édition Contemporary (CEC), Geneva (2021); Balice Hertling, Paris (2019); Alienze, Lausanne (2019); and Hard Hat, Geneva (2018). Group exhibitions include Pernod Ricard Foundation, Paris (forthcoming); Don’t Worry, This Will All Be Over Soon, Gregor Staiger, Milan (2023); La main-pleur, Fri Art Kunsthalle, Fribourg (2022); Des corps, des écritures, Musée d’art Moderne de Paris (2022); Aquarium, Maison Populaire, Montreuil (2022); Les formes du transfert, Les Magasins Généraux, Paris (2021); Emblazoned World, Bel Ami, Los Angeles (2021); Le sain ennui, BQ Gallery, Berlin (2021); Your Friends and Neighbors, High Art, Paris (2020); and L’Oranger, LiveInYourHead, Geneva (2017). Dénervaud participated in the Swiss Institute residency program, New York (2021). His work is in the collections of the ICA Miami; MAMCO, Geneva; and the Musée d’art Moderne de Paris. He is a 2023 recipient of the Swiss Art Awards.
Covey Gong’s work is attuned to “fluctuating relationships between material goods, passing from novelty to familiarity,” in the artist’s words. His recent sculpture has intricately taken stock of such transformations of the everyday via abstract metal armatures, disused fabrics, and extra lengths of thread.
Covey Gong (b. 1994, Hunan, China) lives and works in New York. Gong’s solo and two-person shows include: Bodega (Derosia), New York (2023); Lubov, New York (2022, with Eli Ping); And Now, Dallas (2019); Salt Projects, Beijing (2018). Recent group exhibitions include: In Practice, SculptureCenter, New York (2024); Notes Toward a Shell, Tara Downs, New York (2024); A Fullness of the Seeming Void, Adams and Ollman, Portland (2024); To Breathe, To Walk, murmus, Los Angeles (2024); Leaking Heaven, Laurel Gitlen, New York (2023); Under the Volcano II, Lomex, New York (2022); When the World Becomes Flesh, Baader Mein- hof, Omaha, NE (2022); This Is My Bodys, Bodega (Derosia), New York (2021).
Olivia Hill’s paintings of the local landscape are both observant and odd; her brightly-lit desert scenes look accurate yet otherworldly. Referencing her own photos and screenshots of aerial images from Google Earth, Hill evinces the outdoor environment through a combination of strategies. Tightly rendered formations in pictorial space are layered in among expressive painterly marks that activate the material surface of the canvas.
Olivia Hill (b. 1985, Hinsdale, IL) lives and works in Los Angeles. Solo exhibitions include Terraform, Bel Ami, Los Angeles (2024); Drift, a solo booth of paintings presented by Bel Ami at MIART, Milan (2023); and Strike-Slip, Bel Ami, Los Angeles (2022). Recent group exhibitions include About Painting III, Rolando Anselmi Gallery, Rome (2023); A Particular Kind of Heaven, Parrasch Heijnen, Los Angeles (2023); Storm Before the Calm, Praz Delavallade, Los Angeles (2022). Hill is a 2023 Foundwork Prize finalist. She received her MFA from the University of California, Riverside in 2019 and her BFA from the San Francisco Art Institute in 2006.
Alexandra Noel’s small-scale paintings contain uncanny assemblages of images. In recent years she has focused on subjects shown in a manner that is simultaneously surreal and familiar: babies, domestic objects, and scenes of suburbia. These commonplace elements are often placed within far-flung imaginary settings and tragic scenarios as well as reimagined scenes from films.
Alexandra Noel (b. 1989) lives and works in Los Angeles. Noel received an MFA from Art Center College of Design, Pasadena (2013) and a BA in Visual Arts from University of San Diego (2011). She has held solo exhibitions at Derosia, New York (2022); Crèvecoeur, Paris (2022); Antenna Space, Shanghai (2021); Bodega (Derosia), New York (2019); Atlantis, Marseille (2019); Freedman Fitzpatrick, Paris (2019); and Parker Gallery, Los Angeles (2018). Selected group exhibitions include Made in L.A. 2023: Acts of Living, Hammer Museum, Los Angeles (2023); Basic Fit, Office Baroque, Antwerp (2023); Small Fixations, ICA Milano, Milan (2022); FRONT International Triennial 2022, Cleveland (2022); A Minor Constellation, Chris Sharp Gallery, Los Angeles (2022); Particularities, X Museum, Beijing (2021); Landscape, Bodega (Derosia), New York (2021); Made in L.A. 2020: A Version, Hammer Museum and The Huntington, Los Angeles (2020); The Sentimental Organization of the World, Galerie Crèvecoeur, Paris (2020); From the X-Mas Tree of Lucy Bull, Los Angeles (2020); Bolthole, Potts, Los Angeles (2019); A Cloth Over a Birdcage, Château Shatto, Los Angeles (2019), and Kill It on Vacation, The Steakhouse DOSKOI, Tokyo (2017). Recent publications include Thirty Stuffed Grape Leaves (2022), Ricky Rides Rick (2020) (both published by Apogee, Derosia, Holoholo); and Take Me Out, Please (2017) (published by saxpublishers, Bodega).
For over 60 years, Ben Sakoguchi has honed a satirical style of painting to unearth buried histories and expose treacherous power dynamics. Sakoguchi’s engrossing and sardonic tableaus depict America the beautiful, haunted by harsher subtexts of discrimination, exploitation, and state-sanctioned violence. His wry critique springs from a lifelong sense of being outside the spectacle of capitalist dreaming. Ben Sakoguchi was only three years-old in 1942 when he and his three siblings and parents were removed from their San Bernardino home and grocery store to a WWII concentration camp. The booth display samples works from the Orange Crate Labels series, begun in the mid-1970s and reprised in the mid-1990s. The bright paintings repackage objects of satire in the language of fresh produce, providing dark commentary on the bounty of the Golden State.
Ben Sakoguchi (b. 1938, San Bernardino, CA) lives and works in Pasadena. He received his BFA and MFA from UCLA and taught at the Art Department at Pasadena City College until his retirement in 1997. He has exhibited solo projects at Standard (Oslo), Oslo (forthcoming); Ortuzar Projects, New York (2023); Galerie GP & N Vallois, Paris (2023); Bel Ami, Los Angeles (2021); Ortuzar Projects, New York (2020), POTTS, Alhambra (2018), The Skirball Center, Los Angeles (2016), The Alternative Museum, New York (1992), and San Francisco Fine Arts Museum, San Francisco (1980). His work has been featured in institutional surveys and group exhibitions including Get in the Game, San Francisco Museum of Modern Art, San Francisco, CA (forthcoming); Ordinary People: Photorealism and the Work of Art since 1968, The Museum of Contemporary Art, Los Angeles, CA (forthcoming); Arts & Science Collide, PST ART, Los Angeles (forthcoming); Pleibol, California Museum, Sacramento (forthcoming); footnotes and headlines, Andrew Kreps Gallery, New York (2021); Landscape, Bodega, New York (2021); L.A. RAW: Abject Expressionism in Los Angeles, 1945–1980, Pasadena Museum of California Art, Pasadena (2012); Sub-Pop, Cardwell Jimmerson Contemporary Art, Los Angeles (2011); Made in California: Art, Image, and Identity, 1900-2000, Los Angeles County Museum of Art, Los Angeles (2000); and The Decade Show: Frameworks of Identity in the 1980s, The New Museum, The Museum of Contemporary Hispanic Art, and The Studio Museum, New York (1990); He was twice awarded fellowships by the National Endowment for the Arts.