JDJ’s debut presentation at Felix Art Fair in Los Angeles brings much of the gallery’s program to the West Coast for the first time.

Our presentation features artists ranging in age from their mid-30s to their mid-90s working in the paradigms of abstraction and representation, and sometimes within the space between the two. For this presentation, we’ve partnered with the Los Angeles-based gallery Moskowitz Bayse and invited them to collaborate with us, creating some interesting cross-pollination between our two gallery programs.

New York-based artist duo Barrow Parke focus on the process of weaving and its relationship to visual and abstract systems.

They are best known for their intricate paintings on hand-woven and embroidered fabric, where painted surfaces interact with the fabric’s color, texture and pattern. Their most recent works explore systems of classification present in science and nature, and the role of weaving in the advancement of humankind.

Julia Felsenthal (b. 1983) is a painter and writer working in Brooklyn and Cape Cod.

At once rigidly simple in their compositional constraints and obsessively dense in their mark-making, Julia Felsenthal’s paintings toe a central fault-line: they celebrate and chronicle the protean nature of water and air while indulging and interrogating the all-too-human desire to halt time, to screenshot a view, or to crystallize the fleeting emotions we experience while viewing it. Also on view at Felix are Felsenthal’s still-life paintings, idiosyncratic paintings of flowers made in the tradition of portraiture and invested with the slippery interiority of human subjects.

Heather Guertin's paintings grounded in observation, and the sensibility that a deeply imaginative expression lies latent within it.

She uses found images, collaged together from discarded books, as the source material for her paintings. Her ability to find something special from what is overlooked is as much an integral part of her creative process as is her unique and energetic brushwork and her radiant use of color.

Born of her own sense of dualities, straddling two professional identities as an artist and as a full-time doctor, Sharon Madanes examines her life experiences through her boldly colorful, saturated paintings.

Influenced by her upbringing in Japan and her current home in New York, Shino Takeda's ceramics embody her sensory experience of sight, touch, taste, sound, and smell.

The colorful glazes that Takeda applies to her hand-built ceramics are inspired by her life, a sort of diary of her moods and thoughts expressed through color, texture and pattern.

Using the grain of the canvas as his guide, Myles Bennett explores its material capabilities in unique and innovative ways.

The resulting works, which incorporate ink, acrylic, graphite and colored pencil, blur the divisions between painting, drawing, textile, and sculpture, and embody a sense of space both within and beyond the two dimensional plane.

With their biomorphic forms, Minako Iwamura’s paintings exist in a liminal state that feels both abstract and corporeal.

She uses geometry, color, and pattern to explore the psychological undertones conveyed by their juxtapositions.

The subtle palette and solid brushstrokes of Nathaniel Robinson’s still life paintings contribute to their meditative quality, and evoke a calm sense of focus and stillness.

Susan Weil’s quest for enchantment and delight within her artistic practice has been a clear source of inspiration since her days as a student under Josef Albers at Black Mountain College in the late 1940s.

On view here is Torso, 2004, one of many works Weil has made over the decades that abstracts the female figure down to its most minimal elements without slipping completely into abstraction.

The sweeping gestures, bold color, and dynamic linework found in Jamie Gray Williams’ paintings reflects an interpretation of the relationships between living bodies, their porous boundaries, and how they can be affected or even completely transformed from their interactions with one another. Her paintings blend abstraction with figuration, as she looks toward art historical references such as the curvilinear forms of Brancusi, the angular fragmented bodies of Picasso, and the kinetic energy of Boccioni.

Abby Leigh’s multi-media works have included the use of smoke, peach pit soot, and sledgehammers, to name a few, but often incorporates an element of chance into their creation.

Her most recent series of paintings begin as unplanned compositions that unfurl naturally from her subconscious into abstract compositions or imagined landscapes.

The transformative relationship Ara Dymond had with objects that were meaningful to him presents itself in many ways as the artist worked in two any three dimensions.

Dymond often worked with bronze and resin, representing the material spectrum between the precious and the utilitarian.

Shawn Kuruneru’s abstract paintings draw influence from 9th-century Chinese “floating perspective” painting philosophy (a kind of multi-perspective precursor to cubism), expressionist woodblock prints and the New York School of abstract expressionism—as well as the artist’s own interest in music and comic books. Kuruneru’s work examines the narrative potential of mark-making based in the context of different idioms, exploring both the conceptual and graphic aspects of his medium.