Timothy Taylor is delighted to debut at Frieze Los Angeles 2025 with a presentation of new work by gallery artists who use a range of materials and processes to share perspectives at the intersection of personal reflection and social critique.
In Booth C12, the gallery will showcase paintings and sculpture by Sahara Longe, Annie Morris, Hayal Pozanti, Paul Anthony Smith, and Sean Landers—all of whom have had recent solo exhibitions at the gallery—alongside paintings by Antonia Showering and Jonathan Lasker, who each have solo exhibitions forthcoming at the gallery this spring. These works intersect dynamic formal and material enquiries with reflections on such themes as the environment, social inequity, diasporic identity, cultural memory, instability, and resilience.
Sahara Longe (b. 1994, London) will present a new painting that features an uncanny interplay of allegory, figuration, and abstraction. In Blue Nude, a nude woman stands in an enigmatic interior with her arms at her sides; a masculine, featureless figure steps toward her from the left edge of the canvas. Though the woman’s face is stoic, the vibrant and moody hues of her surroundings convey a vivid inner world.
Characterised by voluptuous forms and buoyant color, Annie Morris’s (b. 1978, London) work weds explorations of volume, surface, and gravity with meditations on personal experience. Here, Morris will exhibit two of her totemic Stack sculptures at different scales. Featuring balls that balance atop each other in dynamic and precarious balance, these works are resonant with metaphor.
Hayal Pozanti (b. 1983, Istanbul) will offer an expressive landscape painting rife with exuberant biomorphic forms. Pozanti’s fertile, surreal canvases document the artist’s dedicated exploration of experiences in nature. She sketches en plein air before returning to the studio to translate her impressions to the canvas, creating vital, animated landscapes.
Leading up to her first New York exhibition with the gallery in May 2025, Antonia Showering (b. 1991, London) will present a canvas that reflects the unknowable workings of memory. In warm, earthen hues, the composition comprises layers of recollections surrounding an intimate scene. A nude couple embrace, exhausted, beside a body of water under a buttery yellow sky. The jagged, organic contours of mountains and outcrops beyond them mirror the shapes of the figures’s sinewy bodies..
From Paul Anthony Smith (b. 1988, St. Ann’s Bay, Jamaica), we will include two new paintings that explore the artist’s own history as well as aspects of identity in the African diaspora. Smith’s recent work often looks to the landscape to reflect on routes of migration and cultural memory. Across his work, he refers to borders, barriers, and masks, alluding to the ways in which such forms variably serve to conceal, foreclose, and safeguard.
A new painting by Crews-Chubb (b. 1984, Northampton, United Kingdom) draws on ancient cultures as well as modern art history to reflect on the human condition. The artist paints turbulent compositions of chimerical figures that emerge from a laborious process of intuitive painting, drawing, and collage. His tactile, textured surfaces evoke not only a vast sense of space, but of temporality.
Sean Landers (b. 1962, Palmer, Massachusetts) will present Its Own Reward (Great Horned Owl) (2024), an exquisite nighttime portrait of the eponymous owl perched on the branch of an Aspen tree. Inscribed on the tree is the sentiment, “We exist so briefly…I assume the privilege of life is its own reward.” Landers bestows the bird with an uncanny sense of existential awareness. Rendered with sharp, careful detail, the owl gazes knowingly back at the viewer.
In April 2025, Jonathan Lasker (b. 1948, Jersey City, New Jersey) will mount an exhibition with the gallery in New York, his first solo with the gallery since his 2011 presentation in London. In our booth, a small new painting will hang alongside the exemplary painting Reasonable Exclusion from 1997. Spanning nearly thirty years, these works highlight the artist’s singular interplay of spontaneity and rigorous intention.
