For this year’s edition of The Art Show, Perrotin is pleased to showcase a selection of artwork by John Henderson, Leslie Hewitt, and Gabriel de la Mora. Through a series of surface maneuvers and material translations, each artist disrupts the traditional concepts of abstraction. A bench by Josh Sperling will also be presented at the booth, which marks the artist's debut furniture presentation in the United States.

John Henderson utilizes a variety of manipulations to renew the manual painterly expression. His Untitled Paintings highlight a reductive rather than additive process, which begins with an accumulation of paint layers that he finely sands away, creating a network of colors. For Henderson’s gypsum casts, an exaggeratedly impasto-ed painting is used to make a mold which is then stained with colored inks, transforming the sculpture back into a painting.

Through a hybrid approach to photography and sculpture, Leslie Hewitt revisits the still life genre from a post-minimalist perspective. In Leslie Hewitt’s photographic series Riffs on Real Time with Ground, Hewitt creates achromatic still-life collages, revealing a piece of personal ephemera (a snapshot) atop a piece of public ephemera (a book, a magazine, a doodle), atop a textured surface (a floor, a rug). The monochromatic color grounds reference both the history of color theory and minimalism, and are each composed in the dark room by exposing photo paper to light. Together, the composites are meant to conjure an aura or incite a memory in the viewer’s relationship to the colors when displayed together. In line with her practice of intertwining personal and sociopolitical histories, Hewitt will also present a low-profile bronze sculpture from a series of work created for Dia Bridgehampton. Hewitt focuses on the bays on Long Island’s East End and how its geography has played a role in colonial contexts. Exploring ideas of light, sound, and inertia, Hewitt emphasizes the history of movement and ecologies along the Northeast coastline from a new perspective of mapping.

Gabriel de la Mora utilizes found artifacts in the construction of seemingly minimal yet mathematically complex surfaces. As a collector of objects and fascinated by science, he began to make geometric compositions with elements that contain genetic material, in this case the butterfly wing. These works address the notion of time: hours spent planning and collaging by the artist, the insect’s ability to undergo metamorphosis as well as its rich heritage dating back to 2,500 BC in Aztec, Mayan, and ancient Mexican culture.