JDJ is thrilled to participate in NADA Miami 2025 with an intergenerational presentation of artists exploring the spectrum of abstraction, featuring works by Barrow Parke, Myles
Bennett, Julia Felsenthal, Heather Guertin, Minako Iwamura, Shawn Kuruneru, and Susan Weil.

Barrow Parke’s collaborative practice explores weaving as both process and visual system.

Their intricate paintings on handwoven fabric merge painted surface with the material’s inherent color, texture, and pattern. In the work on view, they align the Cartesian logic of weaving with the CMYK color model of commercial printing—using white paint to offset thread colors and generate new chromatic fields. By layering one system within another, they reveal the interplay between craft, color theory, and digital technology.

Myles Bennett uses the grain of the canvas as both guide and collaborator, pushing its material limits with ink, acrylic, graphite, and colored pencil.

His works dissolve the boundaries between painting, drawing, textile, and sculpture, creating a sense of space that hovers between the physical and the imagined.

Julia Felsenthal’s watercolors evoke the quiet profundity of the ocean, offering a devotional meditation on the meeting of sky and sea, and on the varied color and texture effects created by ever-shifting atmospheric conditions.

At once simple in their compositional constraints and
obsessively dense in their mark-making, Felsenthal’s paintings celebrate and chronicle the protean nature of water and air while indulging and interrogating the all-too-human desire to halt time.

Heather Guertin transforms overlooked imagery into luminous compositions that pulse with painterly energy.

Working from collaged found photographs from discarded books, she channels observation into imagination, her radiant color and gestural brushwork revealing the poetry in the discarded and the everyday.

Minako Iwamura’s paintings radiate with rhythmic energy, combining curvilinear forms and subtle tonal shifts to explore dualities—geometry and nature, order and intuition, the singular and the collective—and the fluid space between them.

Shawn Kuruneru’s free-flowing shapes on raw canvas evoke musical rhythm and breath.

Using diluted acrylics that behave like watercolor, he stains the surface with crisp yet unplanned forms, each one a record of movement—personal, embodied, and improvisational.

For more than eight decades, Susan Weil has expanded the language of abstraction and figuration through constant experimentation.

A student of Josef Albers at Black Mountain College, Weil continues to create new work at age 95. On view are two works that bookend her remarkable practice: a moon-inspired piece from her Soft Folds series of unstretched paintings, and a dynamic, multi-part silver figurative work—both meditations on time, nature, and the body in motion.