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Future Fair

May 1 - 4, 2024

Chelsea Industrial
538 W. 28th Street | New York, NY

VIP Preview:
Wed, May 1 | 3:00 – 8:00pm
(invitation only – please use private VIP entrance to be ushered directly to my booth -
F8 - near the café)

Public Days:
Thu, May 2 | 12:00 – 7:3pm
Fri, May 3 | 12:00 – 7:30 pm
Sat, May 4 | 12:00 – 6:00 pm 


John Dowell  |  Agathe Bouton  |  Antonio Puri

Susanna Gold exhibits several White series canvas paintings and large watercolors from the 1970s-1990s by John Dowell (African American, b. 1941) alongside recent work by Antonio Puri (Indian, b. 1966) and Agathe Bouton (French, b. 1969). Dowell’s White series, developed from personal conversations with celebrated choreographer Merce Cunningham, deals with movement and gesture, with minimal imagery and highly textured brushwork appearing as “whispers” or fleeting traces of the body’s movement through space. Antonio Puri and Agathe Bouton, both expatriate artists from a generation following Dowell’s, create work that complements Dowell’s earlier White series. Where Dowell sparingly reveals moments of color on a textured white field otherwise devoid of color, Puri and Bouton accentuate vivid color -- specifically, hues of red -- in their similarly minimal compositions.


Puri’s 2020 Tantra series is exhibited as an installation of twenty 12” x 12” canvases with sculptural surfaces built up with small, vivid red beads, each featuring a central, circular mandala. While each of Puri’s canvas is a discrete unit and can be collected separately, they generate a powerful visual impact when occupying an entire wall as a grid. Bouton’s 2023-24 Habitat & Urban Matter series of works on paper similarly focuses on hues of red as the primary visual language, their minimal, block-like forms evoking the modernist architecture of Le Corbusier and Mies van der Rohe. Together, Bouton’s stable forms play off of the movement of Dowell’s gestural imagery, while Puri’s work is both static in its repeated compositions and activated by its shimmering, textured surfaces. Together these artists demonstrate an intergenerational relationship that invites a discussion of motion vs. stasis, minimalism vs. repetition, and past vs. present.  


John Dowell developed the canvases and watercolors in his White series (late 1970s to early 1990s) in conjunction with personal conversations with choreographer Merce Cunningham, whom Dowell admired for his ability to work with time and movement. As a visual artist of 2D works, Dowell was intrigued by his colleagues in dance and music because time was a natural component of their works. But through these personal conversations, Dowell found that although he could not incorporate actual time into his own compositions, he could make the viewer feel time through a sense of distance, movement, and space. Understanding how Cunningham focused on engaging the space in which his dancers moved in his choreography, Dowell correspondingly activates his surfaces with undulating, rhythmic texture punctuated with whispers of strategically placed color to expand the restrictions of his static, 2D plane.

Agathe Bouton demonstrates her deep engagement with ever-evolving ideas about the built environment by her continued working and re-working of her Habitat and Urban Matter series. In her latest series of industrial structures, Bouton introduces vivid color, layered patterning, unexpected syncopations, and contrasting texture into the stacked geometries and regularized rhythms of her factories, power stations, villas, and sheds. Although these constructions appear in isolation and without inhabitants, they are alive with visual energy.


These are not imaginary or arbitrary spaces, but spaces that carry the artist’s personal experience with them – they have been


remembered as lived (and loved) environments for family connection; they have been habitually visited on repeated walks and drives; they have been carefully studied and thoughtfully re-created. The intimate connection that Bouton shares with her subject matter is reflected in a new attention to hand-embellishment with collaged elements and colored pencil markings, heightening the artist’s presence in each work. In this new series, Bouton’s constructions become sanctuaries, bringing together the artist’s concerns with form, space, and life.

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Agathe Bouton, Burmese Days #72, 2022

relief print & monoprint on handmade Burmese mulberry paper with hand-stitching, mounted on KanJi Korean mulberry paper, 22” x 22” $3,500 (framed)

Bouton created her Burmese Days series after encountering  the rich textiles of Burma (Myanmar), where she lived from 2006 to 2010. Her  inspiration came from the shape of a pleated skirt, common in the eastern Shan State, when it is laid flat or flared out in a full spin. Her work hints at women’s lives lived within these precious textiles as they are worn, washed, faded by the sun, lashed by the rain, torn, repaired, and worn again.


She explores the beauty and meaning of these fabrics by combining monoprint and relief prints that she prints by hand onto handmade Burmese and Japanese paper, then adds hand-stitching. Her aim is never to mimic the fabric exactly, but to reflect the lifespan of a skirt – from the intricacies of the original sewing to the repairs, often crude, that add layers of color and interest. Bouton show that these deeply valued textiles bear witness to the lives of the women who grow, play, work, celebrate and die within them. We are challenged to imagine moments of these lives – the special and the mundane. 


Antonio Puri, Tantra series, 2020

acrylic and beads on 20 canvas panels 70” x 60” (variable)


(limited 12” x 12” panels $3,000 ea.)


Antonio Puri created his Tantra installation from 20 sculptural mandala panels with textured surfaces in a range of red hues. Each individual panel is a meditative, spiritual work that draws on the practices the artist learned as a child growing up near Buddhist monks in India. A second inspiration for Puri is the Swiss-French architect and artist, Le Corbusier (1887-1965). Because Puri was born and raised in the only city that Le Corbusier designed (Chandigarh), his first exposure to art was through the vision of this modernist master. Le Corbusier’s use of concrete throughout the city was fascinating to Puri, particularly the ways that its gray color and its textures engaged all the other elements in the environment, enlivening and accentuating the surrounding colors and textures.


Both Puri’s use of intensely saturated color, and his continued study of the qualities of the color gray, find their source in Le Corbusier’s concerns. Puri’s Cincuenta (Fifty) series of 50 works, which explores the nuances and power of grays on highly textured surfaces, commemorates the 50th anniversary of the architect’s death (as well as Puri’s 50th birthday), while the intensely vivid reds in his Tantra series play off this subtlety, embodying pure energy and heightened sensation.

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