Fried Fruit Gallery

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	<title>Fried Fruit Gallery </title>
	<link>https://friedfruit.art</link>
	<description>Fried Fruit Gallery </description>
	<pubDate>Wed, 22 Jul 2026 18:06:51 +0000</pubDate>
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		<title>Fried Fruit - Landing</title>
				
		<link>https://friedfruit.art/Fried-Fruit-Landing</link>

		<pubDate>Thu, 23 May 2024 14:56:18 +0000</pubDate>

		<dc:creator>Fried Fruit Gallery </dc:creator>

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	&#38;nbsp;Upcoming ExhibitionDepartment of Terrestrial Magnetism by Michael WebsterReception:October 2, 2026, 6-9pm

	
&#38;nbsp;FRIED FRUIT ART SPACE&#38;nbsp;FRIED FRUIT ART SPACE&#38;nbsp;FRIED FRUIT ART SPACE&#38;nbsp;FRIED FRUIT ART SPACE&#38;nbsp;FRIED FRUIT ART SPACE&#38;nbsp;FRIED FRUIT ART SPACE&#38;nbsp;FRIED FRUIT ART SPACE

&#38;nbsp;FRIED FRUIT ART SPACE&#38;nbsp;FRIED FRUIT ART SPACE


	Photo by James Farley

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		<title>Past Exhibits</title>
				
		<link>https://friedfruit.art/Past-Exhibits</link>

		<pubDate>Tue, 28 May 2024 13:15:51 +0000</pubDate>

		<dc:creator>Fried Fruit Gallery </dc:creator>

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Past Exhibitions</description>
		
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		<title>Michael Webster </title>
				
		<link>https://friedfruit.art/Michael-Webster</link>

		<pubDate>Wed, 22 Jul 2026 18:06:51 +0000</pubDate>

		<dc:creator>Fried Fruit Gallery </dc:creator>

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		<description>DEPARTMENT OF TERRESTRIAL MAGNETISMMichael Webster &#60;img width="1500" height="2324" width_o="1500" height_o="2324" data-src="https://freight.cargo.site/t/original/i/e3d4696e40916b7aa477d4d9508d31c615267cccd7ddc450f6ef41d6b65f66b3/Michael_webster_RISO-extra-small.jpg" data-mid="252481873" border="0"  src="https://freight.cargo.site/w/1000/i/e3d4696e40916b7aa477d4d9508d31c615267cccd7ddc450f6ef41d6b65f66b3/Michael_webster_RISO-extra-small.jpg" /&#62;
Poster design by Madison CreechOPEN OCTOBER 2, 2025

Exhibition Statement

This exhibition emerges
from research into the archives of the Department of Terrestrial Magnetism, an
early 20th century research project to map the variations of Earth’s magnetic
field. In 1905, the Department requisitioned a wooden trade vessel called the
Galilee, originally used to sail supplies to Fiji, and stripped all iron from
the ship to avoid magnetic interference while taking measurements at sea. In
addition to the Galilee, the Department assembled terrestrial expeditions
across colonial landscapes with specialized magnetic survey equipment.
Situated
within the exhibition are large-scale drawings and sculptures extrapolated from
materials found within the Department of Terrestrial Magnetism archives.
Hand-drawn maps depict magnetic phenomena recorded during the expeditions but
appear suspiciously similar to charts of political spheres of influence, or
extractive flows of matter and people across borders. Magnetic survey equipment
within the exhibition has been stripped of function, abandoned, and left as
monument to scientific pursuit of objectivity.
This exhibition is an attempt to
translate archival research to question how pursuit of scientific objectivity
can obscure uneven relationships of power. These drawings and sculptures
navigate connections between historical systems of mapping, territorial
control, and contemporary global politics, considering how these structures
continue to influence the present. More information about Michael Webster’s
work can be found on his website:


https://www.michaelwebsterstudio.com/
This project is supported in part by a grant from South Arts in partnership with the National Endowment for the Art and the NC Arts Council. Additional support comes from the department of Art &#38;amp; Art History and the office of High Impact Practices at UNCW.
 

ARTIST BIO


Michael Webster focuses on the social organization of space through site-specific projects, sculpture, and installation. His work is context-driven and materially attuned, investigating the effects of power on social geography with a focus on long-term participatory projects rooted in the southern United States. He has participated in residencies at McColl Center, ChaNorth, Hambidge Center, Elsewhere Living Museum, and Penland School of Craft. He was the runner-up for the 2023 South Arts Southern Prize and was the recipient of the South Carolina State Fellowship. Michael has held solo exhibitions at Locust Projects in Miami, Neue Welt in Nashville, and the Liv Lab Project Space at Western Carolina University. He received a Bachelor of Fine Arts from East Carolina University and a Master of Fine Arts from the School of the Art Institute of Chicago. Currently, he is a member of Tiger Strikes Asteroid GVL and an Associate Professor at Wofford College in Spartanburg, South Carolina.
 

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Photos by James Farley
PAST EXHIBITIONS

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		<title>Bain Bennett </title>
				
		<link>https://friedfruit.art/Bain-Bennett</link>

		<pubDate>Wed, 22 Jul 2026 18:04:28 +0000</pubDate>

		<dc:creator>Fried Fruit Gallery </dc:creator>

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		<description>Infinite JestBain Bennett &#60;img width="1666" height="2166" width_o="1666" height_o="2166" data-src="https://freight.cargo.site/t/original/i/7aa00ffc2c2585d26a873b9adb500652b2f311b65523cd93ddd557e710e4d0b2/Screenshot-2026-08-25-at-7.18.02PM.png" data-mid="251672125" border="0"  src="https://freight.cargo.site/w/1000/i/7aa00ffc2c2585d26a873b9adb500652b2f311b65523cd93ddd557e710e4d0b2/Screenshot-2026-08-25-at-7.18.02PM.png" /&#62;
Poster design by Amanda EllerArtist
Statement:


Through my work I explore the tension that comes with balancing the
absurd nature of human existence with the external turmoil that is constantly
at play around us. Our experience of the world is increasingly filtered through
digital technologies. I reflect on how constant exposure to devastating
realities and neglect for humanity from those in power shape present-day
existence. My goal is not necessarily to give answers, but rather create a
space where complexity and uncertainty can be felt.


Exhibition
statement: 


The title of my show "Infinite Jest” was inspired by a Jesse
Welles’ song, “Will The Computer Love The Sunset”. In the song, he references
David Foster Wallace’s famous novel in which he uses the phrase “infinite jest”
as an existential metaphor for the tragic comedy of this existence. I have not
read the book. The song, in essence, is about what it means to be human.
Uncertain. Absurd. One. The work in this show is a record of the last year. I
have lived. I have existed, as a human in this digital age.


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Photos by James Farley
PAST EXHIBITIONS

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		<title>Jordan Grace Owens</title>
				
		<link>https://friedfruit.art/Jordan-Grace-Owens</link>

		<pubDate>Wed, 15 Jul 2026 20:43:27 +0000</pubDate>

		<dc:creator>Fried Fruit Gallery </dc:creator>

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		<description>LIVING ROOMJordan Grace Owens&#60;img width="1294" height="2000" width_o="1294" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6235b83f1183416927c6dc2fb54f6834362d804142dad333f6e55a617333536c/Untitled-design.png" data-mid="250963448" border="0"  src="https://freight.cargo.site/w/1000/i/6235b83f1183416927c6dc2fb54f6834362d804142dad333f6e55a617333536c/Untitled-design.png" /&#62;
Poster design by Amanda Eller
Exhibition StatementLiving Room represents a culmination of my work over the last two years, in which I’ve&#38;nbsp;been experimenting with the boundaries of the picture plane and exploring the ways abstract shapes occupy space. In my paintings, lumpy sculptural forms bulge from the&#38;nbsp;canvas&#38;nbsp;and figures push beyond the confining borders of the rectangle. Presented in dialogue with these paintings, shapes have been reimagined as human-scale sculptures built out of plywood and paper&#38;nbsp;maché. As if they have stepped from the canvas to take on three-dimensional form, these embodied shapes are arranged within the walls of the gallery much like their two-dimensional counterparts are arranged within the borders of a painting.&#38;nbsp; 
The long window of the gallery becomes a frame through which to view these sculptural shapes and the relationships between them. Shapes in my work reference both figure and object to explore themes of the body, human relationships, and family structure. Shapes lean against one another, press into each other, and lift each other up. I’m interested in the corporeality of shapes and the objectification of bodies, and in exploring the ways that this tension between object and body becomes more pronounced at a life-sized scale. When looking through the gallery window, I want the viewer to feel as if they are peering into a room occupied with strange, almost-human, living objects. 


Biography


Jordan Grace Owens (b. 1987, Winston-Salem, NC) is a painter and sculptor based in Durham, NC. Working in layered washes of acrylic and oil on semi-sculptural shaped canvas and plywood surfaces, she creates arrangements of abstract shapes that explore the physicality of human relationships. Primarily self-taught, Owens’ studio work follows a decade-long career in freelance illustration. You can find her work at www.jordangraceowens.com or on Instagram at @jordangraceowens. 
Labels (looking at the gallery from left to right)Small Group (I)
acrylic and aqua-resin putty on canvas and plywood, 
13 x 9 inches,
2025
Both Sides
Acrylic, oil, and aqua-resin putty on canvas,
30 x 36 inches,
2025
Stability
Acrylic on canvas,
18 x 24 inches,
2025
Parts
Acrylic, oil, and aqua-resin putty on canvas,
36 x 25 inches,
2025
Ties
Acrylic, soft pastel, oil stick, and aqua-resin on canvas and plywood,
21 x 25 inches,
2026


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PAST EXHIBITIONS

</description>
		
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	<item>
		<title>Megan Smith</title>
				
		<link>https://friedfruit.art/Megan-Smith</link>

		<pubDate>Tue, 30 Jun 2026 01:57:51 +0000</pubDate>

		<dc:creator>Fried Fruit Gallery </dc:creator>

		<guid isPermaLink="true">https://friedfruit.art/Megan-Smith</guid>

		<description>In BlushMegan Smith&#38;nbsp;&#60;img width="1467" height="2000" width_o="1467" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2be2546fb091c5f029ad58b46b230422d82beabc5f8fd639efdc3e62559775b6/Untitled-design-1.png" data-mid="250962979" border="0"  src="https://freight.cargo.site/w/1000/i/2be2546fb091c5f029ad58b46b230422d82beabc5f8fd639efdc3e62559775b6/Untitled-design-1.png" /&#62;
Poster design by McKenzie Williams&#38;nbsp;Artist Bio: 

Megan Smith is a sculptor, who&#38;nbsp;is interested in interactive installation and design. Her work involves themes of worldbuilding through nostalgia, play,&#38;nbsp;participation&#38;nbsp;and escapism. She is currently based in Bloomington, IN, and is a Visiting Assistant Professor at the Eskenazi School of Art, Architecture, + Design of Indiana University. She completed her MFA at the Eskenazi School of Art, Architecture, + Design in Bloomington, IN and her BFA at Tyler School of Art and Architecture in Philadelphia, Pennsylvania. 

 
Artist statement: 

Worldbuilding has been a big part of my life since childhood. It is personal and complex. Regarding this work, I am considering this as the intentional process of making and developing a new world or space, a personal utopian cosmos that speaks to my personal experiences and upbringing. I am actively using worldbuilding as a key to unlock nostalgia, participation, and a nourishing escape. In this exhibition, In Blush, I am transporting my viewers and I to a certain time and place that is grounded and established through play. Using immersions to activate viewers’ senses, I depict a theatrical, surreal world where everything is bright, shiny and untarnished. Every aspect is materialized so that you can only see through rose-colored glasses. It is a place that I consider to be ideal and that restores innocence and curiosity. It is a safe space to pause and an investigation of optimism. It is dreamlike, colorful, lively, and delicious. I am using acts of participation and interaction to physically share this world, activate narratives, and engage my viewers through physical experiences. I invite you to be a participant in these works, as they are for us to experience a change from the world that we live in everyday, nourishment from the unhealthy, protection from the unsafe, a hug from the loneliness, and a release from ______________________ (fill in the blank). 

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&#60;img width="1206" height="898" width_o="1206" height_o="898" data-src="https://freight.cargo.site/t/original/i/7bd985d443a7d1af95731f13933d834810e3e96165f242c6e25fe503933784b2/IMG_5534.jpg" data-mid="250166028" border="0"  src="https://freight.cargo.site/w/1000/i/7bd985d443a7d1af95731f13933d834810e3e96165f242c6e25fe503933784b2/IMG_5534.jpg" /&#62;


PAST EXHIBITIONS

</description>
		
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	<item>
		<title>alejandro t. acierto </title>
				
		<link>https://friedfruit.art/alejandro-t-acierto</link>

		<pubDate>Tue, 07 Jul 2026 17:27:06 +0000</pubDate>

		<dc:creator>Fried Fruit Gallery </dc:creator>

		<guid isPermaLink="true">https://friedfruit.art/alejandro-t-acierto</guid>

		<description>open grounds for wholly indeterminate futuresalejandro t. acierto&#38;nbsp;&#60;img width="1333" height="1999" width_o="1333" height_o="1999" data-src="https://freight.cargo.site/t/original/i/8dec4787116ffdb1b3213c4c7980bcaed1ccda1e055b171907470caa0561263b/Untitled-design.png" data-mid="250962904" border="0"  src="https://freight.cargo.site/w/1000/i/8dec4787116ffdb1b3213c4c7980bcaed1ccda1e055b171907470caa0561263b/Untitled-design.png" /&#62;
Poster design by Madelyn FrazierFried Fruit Art Space is pleased to present a solo exhibition by artist alejandro t. acierto. He produces creative projects, exhibitions, and performances that highlight the impact of colonial legacies across technologies, material culture, and the environment. Often taking shape within and across expanded forms of documentary, new media, creative scholarship, and sound, his works have been shown internationally at the Havana Biennial in Matanzas, Cuba, Yerba Buena Center for the Arts (San Francisco), ISSUE (NYC), Radialsystem ​(Berlin), and MCA Chicago, among others. He has also published works with Hyperallergic, Parse Journal, Dilettante Army, Media-N Journal, and Resonance: The Journal of Sound and Culture. 
He was Artist in Residence for Critical Race Studies at Michigan State University, a Core Faculty Teaching Fellow at Warren Wilson College in the MA for Critical Craft Studies, and a Digital Humanities Faculty Fellow at Vanderbilt University. He was also a Center for Craft Archive Research Fellow and an Ansel Adams Research Fellow at the Center for Creative Photography at the University of Arizona. acierto is an Assistant Professor of Digital Arts at Wayne State University located in Waawiyaataanong on the ceded lands of the Three Fires Confederacy, including the Ojibwe, Odawa, Potawatomi, and Wyandot peoples. 

The works in this exhibition emerge from an ongoing inquiry into landscape, displacement, and adaptation. Following the steady rise of rapid urban growth across Phoenix Arizona’s metropolitan areas in the last several decades, the region’s vastly diverse natural habitats have increasingly been replaced by sprawling housing developments, expansive commercial warehousing facilities, and enormous tech campuses for international manufacturing and distribution. Leaving an indelible mark upon the fragile ecosystem of the Sonoran Desert alongside the longstanding effects of climate change in the region, the area’s natural wildlife has seen significant shifts that have altered their capacity to thrive amidst dwindling natural resources. 
Simultaneously, residents across the city’s urban desert landscape have faced devastatingly harmful temperatures, an increasingly dangerous water crisis, and a significant shortage of affordable housing that makes living there particularly precarious, especially those facing housing insecurity. Noting these tensions, this body of work navigates how the conditions of a constantly shifting landscape anticipate more complicated stories of relation between humans, non-humans, and the environments they inhabit.

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Photos by James Farley
PAST EXHIBITIONS

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	<item>
		<title>Julie Sydes </title>
				
		<link>https://friedfruit.art/Julie-Sydes</link>

		<pubDate>Tue, 07 Jul 2026 17:51:16 +0000</pubDate>

		<dc:creator>Fried Fruit Gallery </dc:creator>

		<guid isPermaLink="true">https://friedfruit.art/Julie-Sydes</guid>

		<description>ThalassophileJulie Sydes &#60;img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/eb235613459ccb69558dbadd7e87c6e24b7f7f17b90933c606ff532bcf3b508c/Thalassophile-featuring-01.jpg" data-mid="250186129" border="0"  src="https://freight.cargo.site/w/1000/i/eb235613459ccb69558dbadd7e87c6e24b7f7f17b90933c606ff532bcf3b508c/Thalassophile-featuring-01.jpg" /&#62;
Poster design by Madison CreechRooted in my coastal upbringing and guided by a curiosity to explore new ideas, this body of work engages with multimedia practices to challenge the limits of the traditional canvas. My deep connection to the ocean is woven throughout the work, emerging as both subject and inspiration.

I work with mixed media, often combining recycled and found materials with delicate linework to beautify an object once rendered useless. This layering of forms and mediums symbolizes the coastal environments that shaped me and how pollution is destroying the organic world. My artistic influences stem from the ocean and its organisms, and the historical and spiritual meanings tied to nature. Every culture has different meanings tied to things in nature along with having personal meanings. Like how Hawaii sees Manta Rays as protectors and messengers. These sources inspire me to weave motifs of black and white to observe content over color and embellishments to help create contrast. Together, they create compositions that ask the viewer to pause, connect, and find resonance within the work. An example of this process is seen in Wollongong, where reclaimed materials and charcoal mirror the movement of the tide, embodying both my fascination with nature and my commitment to shedding light on the state of the environment.

My practice is about finding moments of reflection, stillness, and connection to the ocean. In this collection, I want to bring environmental awareness that may be personal connections or through an ecological lens and related to the health of our planet. Each drawing is both an exploration and grounding in my coastal American roots. Aiming to challenge conventional forms by engineering the works one step further. By adding another medium and pvc pipes, add another layer of symbolism. Fragility and reminders of how human activity has altered the natural ecosystem.

Assimilation
In my art practice, I piece together my evolving sense of cultural identity as an Asian American raised in coastal North Carolina. By weaving my personal experiences, emotions, and memories into printed media, I examine the complexities of belonging and self-discovery. While growing up in this area, I have experienced multiple instances of disparate impact. For example, when I was in high school, I worked in a grocery store and was told by a customer that they didn’t blame me for the virus and proceeded to go on about the topic to me. While this person had good intent, it made me feel pushed further away from the majority. Or another instance, when I was working in a restaurant and was holding the door open for a family. Their little girl pulled her eyes into slits and asked her mom why I looked like this. For this specific encounter, education and exposure is important. Through intentional choices of color, recurring motifs, and carefully selected materials, I infuse each piece with layered symbolism that speaks to both my heritage and my lived reality.

Experimentation with mixed media is central to my practice. My work becomes a space where I use materials, images, and symbols to explore my Identity. Photography, screen printing, lino-cut, printing, Riso are vehicles I have used to communicate my ideas. By using a combination of printing methods, it is representative of how the invention of printing made information spread further. Questions about my origins have driven me to seek a deeper understanding of my cultural background. Studying Chinese history and symbolism has provided new insight into traditional artistic forms, inspiring me to reinterpret and share these elements within my own work.

In my screen print “One,” I utilize the colors blue, black, red and white paired with Chinese characters to illustrate the impact of China's one-child policy. This policy was in effect from 1979 to 2016. The historical significance of color in Chinese culture lends these prints added meaning of color in Chinese culture make these prints more meaningful. Here are the meanings of the colors I utilized: Black = Hardship, Red = Luck, White = Mourning, and Blue = The color of the East. I was found in the Liaoning province, which is in northeastern China. I used the Chinese characters for son, daughter, and the number one. The traditional flag shape and being screen-printed suggest the ability to be mass-produced and recognizable.

In my practice, I’m always searching for ways to communicate my evolving sense of cultural identity, and I’ll always struggle with developing work that can fully describe my personal experience.


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Photos by James Farley
PAST EXHIBITIONS

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	<item>
		<title>Hannah Keats </title>
				
		<link>https://friedfruit.art/Hannah-Keats</link>

		<pubDate>Fri, 17 Jul 2026 20:51:04 +0000</pubDate>

		<dc:creator>Fried Fruit Gallery </dc:creator>

		<guid isPermaLink="true">https://friedfruit.art/Hannah-Keats</guid>

		<description>Touch TankHannah Keats &#60;img width="1920" height="2967" width_o="1920" height_o="2967" data-src="https://freight.cargo.site/t/original/i/8a50f43ee71c03be68472aa1b180232fd2beb588d5fa87a850ddd53becaa3c3b/HK1.jpeg" data-mid="250875447" border="0"  src="https://freight.cargo.site/w/1000/i/8a50f43ee71c03be68472aa1b180232fd2beb588d5fa87a850ddd53becaa3c3b/HK1.jpeg" /&#62;
Poster design by&#38;nbsp;Fried Fruit Art Space is pleased to present Touch Tank, an installation exhibition by artist and art educator Hannah Keats. Through sculptural paintings, mural work, wallpaper, and digitally integrated processes, Keats creates immersive environments inspired by close observation of the natural world, particularly marine ecosystems and fungi.

Hannah Keats is based in Tallahassee, Florida, where she works between studio practice and teaching. She received her MFA in Studio Art from Florida State University in Spring 2025 and her BFA from the University of North Florida in Fall 2020. Keats is currently a faculty member at Chipola College in Marianna, Florida.
Keats’ recent work has been recognized through several notable accolades, including an award from The Nature Conservancy for work related to shark conservation. She was selected for Fresh Squeezed 9 at the Morean Arts Center in St. Petersburg, Florida, received a fellowship for the Mudhouse residency program in Crete, Greece for Summer 2025, and opened her first museum solo exhibition at the Bradbury Art Museum.

Whether examining marine life at a local aquarium, studying coral specimens at a nature center, or observing microscopic worlds of sand under a microscope, Keats’ practice is driven by sustained inquiry into environmental systems. These investigations are translated through hand-crafted components and digital processes, allowing microscopic and macroscopic observations to converge within the gallery space.

In Touch Tank, the installation mimics the experience of an aquarium touch tank and invites viewers to discover details throughout the environment while considering their own relationships to nature. The exhibition encourages slow looking, curiosity, and a tactile sense of engagement, both literal and implied, within constructed natural forms.
On the back side of the gallery, Touch Tank will be accompanied by a UNCW student pop-up exhibition of digitally printed textiles produced during a workshop led by Keats. This component extends the exhibition’s themes through pedagogy and collaborative making.


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Photos by James Farley
PAST EXHIBITIONS

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		<title>Carlos Etcheverry</title>
				
		<link>https://friedfruit.art/Carlos-Etcheverry</link>

		<pubDate>Fri, 08 Aug 2025 17:19:14 +0000</pubDate>

		<dc:creator>Fried Fruit Gallery </dc:creator>

		<guid isPermaLink="true">https://friedfruit.art/Carlos-Etcheverry</guid>

		<description>Kill MatureCarlos Etcheverry&#60;img width="1294" height="2000" width_o="1294" height_o="2000" data-src="https://freight.cargo.site/t/original/i/36ba4357b3d686e30b1bdc0fff481e8a943be386e8e3bf4c8c9df5994c8c7ad7/Untitled-design.png" data-mid="250962676" border="0"  src="https://freight.cargo.site/w/1000/i/36ba4357b3d686e30b1bdc0fff481e8a943be386e8e3bf4c8c9df5994c8c7ad7/Untitled-design.png" /&#62;
Poster Design by:&#38;nbsp;Kesler LillyCarlos Etcheverry, a.k.a Oripoto, works through drawing, print, installation, music, comics, and performance to examine how stories survive authoritarianism, migration, and everyday absurdity. His practice is anchored in the aesthetics of underground comix, the self-taught DIY spirit of zine culture, and the music that shapes his studio days. The work is sharp, funny, and abrasive when it needs to be, and never neutral.

Etcheverry communicates most clearly through making. Drawing and printing remain the ways he understands the world. He adds humor, beauty, or a bit of wicked wonder back to it. Even when he approaches darker themes, his aim is to offer viewers a moment of recognition, a smile, or a crack in the façade of power.

Born in Venezuela and working in Los Angeles and Wilmington, Etcheverry carries a lived memory of a political landscape shaped by censorship and contradiction. Caracas appears in the exhibition through a papier-mâché sculpture of the mountains of Oripoto dressed with an illuminated cross. The mountain is a stand-in for the place that shaped him, while the symbols of his Catholic childhood surface as icons to be reinterpreted, mocked, or dismantled. Humor becomes the tool through which harm, hypocrisy, and the absurdity of power are exposed.

His imagery moves between the ordinary and the surreal: ordinary moments rendered with documentary bluntness, followed by impossible creatures, strange architectures, or visions pulled from dreams, comics and counterculture. Etcheverry believes that illustration should be lived with, shared, worn, and recognized as a vital artform that can archive personal experience.

Borlo, Etcheverry’s long-running comic and performance alter ego, sits at the center of his practice. Borlo functions as a trickster, witness, and sometimes stand-in for the artist himself. Through Borlo, Etcheverry moves between autobiography, satire and collective memory. This trajectory continues in his nonfiction comics, including the forthcoming El Horror Es Su Divisa and El Día Que Me Pilló Mi Abuela Con la Burra de mi Tío, which extend his interest in how personal narratives intersect with political history.

Across mediums, his work is critical, restless and deliberately rough around the edges. It refuses the expectation that political art must be sober or tidy. Instead, it embraces the messy, layered, and sometimes overwhelming qualities of lived experience.&#38;nbsp; His influences of Reveróns madness, Goya’s darkness, Crumb’s freedom, Druillet’s scale, Liberatore’s danger, Bakshi’s irreverence, run through the work like a charge. There is always music in the studio: analog post-punk, ‘70’s strangeness, early ‘90s psychedelia. His mixtapes are an extension of the work itself: mood, memory, and critique arranged as sound. His style shifts as his playlists do; never fixed, always evolving.

Artmaking, for Etcheverry, is not just expression. It is resistance.&#38;nbsp; 

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PAST EXHIBITIONS

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