José-Ricardo Presman

A Mountain Overlooking a Home by the Lake –
The Creation of Time from the State of Duration

On view April 30 to June 7, 2026

Reception: Friday, May 1, from 6 to 8 p.m.

Amos Eno Gallery is pleased to present A Mountain Overlooking a Home by the Lake – The Creation of Time from the State of Duration, a solo exhibition by artist José-Ricardo Presman. Presman was among the founding artists who established Amos Eno Gallery in 1974, making this exhibition both a continuation of a decades-long relationship and a reflection on the evolving concerns of his practice.

In this new body of work, Presman explores the relationship between perception, time, and scale — drawing connections between the intimate spaces of human awareness and the vastness of the cosmos. The exhibition unfolds as a contemplative installation of canvas panels layered with diluted acrylic pigments that reveal themselves slowly, shifting as viewers spend time with the surface.

Presman’s paintings resist immediate readability. Instead, subtle tonal variations and restrained color fields emerge gradually, inviting viewers into an extended act of looking. The works operate less as static images than as perceptual environments — spaces where attention itself becomes part of the experience.

The exhibition’s title references philosophical ideas about time and duration, particularly the notion that reality is in constant flux. Presman approaches each exhibition as an opportunity to begin again, deliberately avoiding stylistic repetition in order to reflect this sense of continual transformation. The resulting works encourage viewers to move beyond habitual ways of seeing and engage the work through sustained attention and imagination.

The exhibition also includes a related video component and a forthcoming live musical performance by composer Damien Olsen Berdichevsky, extending Presman’s investigation of rhythm, perception, and time across multiple sensory registers.

Over five decades after helping to found Amos Eno, Presman’s latest exhibition reflects both the continuity of his philosophical inquiry and its ongoing evolution.

The gallery will celebrate the exhibition with an opening reception on Friday, May 1, from 6 to 8 p.m. Works and installation images will be available to view on Artsy.

About the Artist

José-Ricardo Presman was born and raised in Buenos Aires, Argentina, and received his MFA from Pratt Institute in Brooklyn, NY. He is one of the co-founders of the Amos Eno Gallery in 1974, and has exhibited in numerous solo shows at Amos Eno Gallery in New York and in various group shows throughout the US and Canada. A complete list of exhibitions is available in his CV upon request.

About Amos Eno Gallery

Amos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The nonprofit space  is open Thursdays through Sundays from noon to 6 p.m. and run by a community of professional artists from New York City and across the country, along with a part-time director. ​

The gallery is located at 191 Henry Street between Jefferson and Clinton Streets on the Lower East Side of Manhattan. It’s a 5 minute walk from the F Train’s East Broadway Station and a 10 minute walk from the J Train’s Delancey Street - Essex Street Station. 

Amos Eno Gallery's programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Amos Eno Gallery is also funded in part thanks to the generosity of the Joseph Roberts Foundation.

Reception: Friday, May 1, from 6 to 8 p.m.

In Translation brings together five artists whose works examine how inherited systems — linguistic, biological, algorithmic, political, and ritual — shape identity and belonging. Across drawing, painting, sculpture, and collage, the exhibition asks how forms are received and remade: to be patterned by forces larger than the self, and to respond by constructing new visual languages.

Curated by gallery director Ellen Sturm Niz, the exhibition traces a shared tension between origin and invention — between what is given and what is built in response. Each artist engages a distinct system of transformation, from cultural displacement and personal syntax to painterly fracture, algorithmic logic, and political interference. Translation emerges here not as loss, but as a generative act — a process of absorbing disturbance and reconstituting it as meaning.

At a moment when identity is increasingly mediated by technology, migration, and political division, the question of how meaning is constructed — and who constructs it — feels newly urgent. In Translation responds by foregrounding artists who do not simply receive these systems, but actively reshape them.

Artists & Works in the Exhibition

Zoë Elena Moldenhauer

Zoë Elena Moldenhauer is a New York–based artist who received her BFA from the Maryland Institute College of Art (2019) and an MA from New York University (2022). She is the founder of The Aerogramme Center for Arts and Culture, an online platform supporting artists and writers, and maintains a studio at Brooklyn Art Cluster.

Since 2017, Moldenhauer has developed a personal alphabet rooted in her experience as a Guatemalan transracial adoptee — a tool for constructing identity in the absence of inherited language or culture. The system continues to evolve, incorporating Nahuatl, pictorial languages from the Nazca lines in Peru, and cave paintings from Serra da Capivara in Brazil. Using linoleum block printing on fabric, she builds layered surfaces with yarn, buttons, zippers, and wax crayon, forming what she describes as imaginary constellations — a language that is both invented and deeply researched.

Composition 3  |  2025  |  Screenprint, zipper, wax crayon, plastic bread tags on fabric  |  12 × 20 in.  |  $300

Two panels of vivid red fabric, joined at the center by a zipper, bear bold black screenprinted forms — abstracted figures or glyphs — surrounded by Moldenhauer’s evolving visual syntax and arrow-like notations in yellow and purple wax crayon. Small found objects punctuate the surface: a red button, orange and green plastic bread tags. The zipper seam running across the middle feels structurally apt: two things held together, translatable into each other, always capable of coming apart.

Composition 1  |  2025  |  Yarn, buttons, plastic bread tags, wax crayon, screenprint on fabric  |  21 × 19.5 in.  |  $300

Made in Rio de Janeiro in response to Brazil’s Tropicália Movement, Composition 1 works in a quieter register — a dark fabric ground against which Moldenhauer’s coded system floats alongside loosely applied black shapes and thin wax crayon marks. Buttons and bread tags act as punctuation. The work resists legibility by design, asking to be felt before it is read.

Allison Pottasch

Allison Pottasch is a Brooklyn-based artist who collages, draws, and paints. Trained in Advertising at Pratt Institute and largely self-taught, she works with clippings from magazines and historical mass media, transforming them into what she describes as hieroglyphic characters.

Her maximalist collages reassemble these fragments into dense visual systems that examine contemporary Americana — exploring sexuality and gender, religion and mysticism, and cultural and personal identity. Removed from their original context, the images invite viewers to activate their own visual memory to construct meaning.

Rangoli  |  2025  |  Paper collage  |  11 × 17 in.  |  $1,200

Set against a ground of layered, torn black paper, Pottasch’s collage unfolds along a strict bilateral axis — the symmetry of a mandala or altar. At its center, a dense horizontal band of fragments — crowns, leopards, religious iconography, botanical forms, and unmistakably American consumer imagery — is assembled into a form of unexpected ceremony. The traditional Indian rangoli, typically made as an offering of welcome, is here reconstructed from the detritus of print culture. The logic of accumulation becomes ceremonial, transforming disposable imagery into a structure of attention and care.

Olga Rudenko

Olga Rudenko is a Ukrainian-born artist based in New York City, trained in stone and wood carving and holding a Master’s degree in the history of philosophy. Working across sculpture, textiles, painting, and digital language, she examines how human identity is reshaped by ideology and technology.

Her project AI_Augmented_Iconography merges Orthodox religious imagery — halos, gold leaf, frontal stillness — with algorithmic code, emojis, and scientific notation. Rooted in lived experience of cultural and personal transformation, the work considers how technological systems alter perception, relationships, and the body. Slow processes like embroidery act in deliberate opposition to digital speed, while the recurring child figure underscores the fragility of human life.

<!--edited--> #3   |  2024  |  Silicone dolls, cotton, embroidery, sequins, ink, mirrors  |  34 × 20 × 18 in.  |  $10,000

A cluster of soft, stuffed figures — childlike in form, unsettling in implication — hangs suspended against overlapping black mirror discs. Every surface is covered in embroidered and inked genetic notation: CRISPR, mRNA, scissor symbols, DNA base-pair letters. The body becomes a readable document — legible to an algorithm. Where Orthodox iconography once marked the body as sacred, here it is rendered as code. The work asks what individuality means when reproduction is systematized and the script of life is written elsewhere.

Sasha Skulinets

Sasha Skulinets is a Ukrainian-born painter and filmmaker based in New York. Working across painting and narrative film, she examines perception and the construction of point of view.

Her paintings, made primarily with acrylic on canvas and wood, evolve through layering, pouring, and erasure, emphasizing surface, duration, and the physical negotiation of form. The surface records what has been added, removed, and reworked, locating meaning in the accumulation of time and process, where images are continually translated through material change.

While the World Decays  |  2025  |  Acrylic on canvas  |  36 × 48 × 1.5 in.  |  $1,600

A dark vertical stroke bisects the canvas, splitting a bruised, atmospheric field of lavender, blue, teal, ochre, and red into near-mirror halves. Layers of erasure and reapplication remain visible in the surrounding surface. Here, translation emerges through paint itself — the unified image fracturing under pressure into something less resolved, more contingent. The palette carries the weight of the title: these are not colors of resolution.

Christopher Squier

Christopher Squier is a New York–based visual artist who holds an MFA in Sculpture from the San Francisco Art Institute. Working across drawing, writing, and installation, he explores optics and the role of light in contemporary visual culture, framing vision as both historically shaped and politically contested.

His Disturbances series draws on a mid-century physics experiment visualizing light as wave interference, using these patterns as a framework for understanding how perception is shaped by overlapping political and social forces, including sound, architecture, and embodied experience.

Disturbances No. 22 (Troubadours)  |  2025  |  Colored pencil on Bristol vellum  |  17 × 11 in.  |  Framed  | $1,500

Made following a trip to Guanajuato, Mexico, this drawing layers delicate Gothic-inspired ironwork — drawn from the city’s balconies — over a central interference pattern of concentric white rings radiating across a soft blue and lavender field. Diagonal lines cut through the composition like wave trajectories; a prismatic triangle glows with spectral color; a botanical sprig curls near the surface. Here, interference becomes grounded in lived conditions — sound moving through streets, bodies gathering in public space, presence insisting on itself.

Disturbances No. 19 |  2023  |  Colored pencil on Bristol vellum  |  17 × 11 in.  |  Framed  |  $1,500

Part of the same series, this drawing extends Squier’s investigation of interference into the realm of sound. Inspired by time spent in Milan, the work connects the vibration of light to sonic experience — footsteps echoing in humid air, architectural acoustics, and the internal mechanics of hearing itself. The composition draws from specific sites, including the ear-shaped intercom of Casa Sola Busca and the staircase of Villa Necchi, while staging a dialogue between interior and exterior space, and between visual and sensory perception.

Tessellation (The Lighthouse, Unfolded) | 2026 | Colored pencil on Bristol vellum | 19 × 24 in. | Unframed | $2,200

A larger, in-progress work, Tessellation (The Lighthouse, Unfolded) expands Squier’s interest in optical systems through the geometry of a deconstructed Fresnel lens translating its structure into a dense, flattened field with a hypnotic, tessellated structure.

About The Project Space at Amos Eno

In Translation is on view at The Project Space, Amos Eno’s experimental exhibition space in the cellar, from April 30 through June 7, 2026. 

The gallery is open from 12 p.m. – 6 p.m. Thursdays through Sundays. Please note there is a steep staircase to access this area.

Upcoming Shows

  • Tulu Bayar / June 11 - July 19, 2026

  • Grant Whipple / July 23 - August 23, 2026

  • Sam Jones / Sept. 10 - Oct. 11, 2026

  • Hiroko Ohno / Oct. 15 - Nov. 15, 2026