MYTHOS
exhibition Opening Friday October 24, 2025
7:00 - 10:00 PM
free and open to the public
Exhibition runs through DEcember 12
We are excited to announce our eighth exhibition of 2025
MYTHOS
Group Exhibition featuring Chloe Alexander, Christa Collins, Stan Clark, Ivy Wu, Philip Carpenter, Daisy Dickson and Claude-Gerard Jean
MYTHOS gathers seven contemporary artists whose practices transform the personal, the perceptual, and the everyday into living narratives of meaning and imagination. Across diverse media—from printmaking and painting to mixed media and optical art—the exhibition explores how myth is not only inherited but continually rewritten through experience, memory, and transformation. Chloe Alexander’s layered print narratives and Philip Carpenter’s tender botanical studies ground myth in the ordinary, while Daisy-Anne Dickson and Christa Collins turn abstraction into a site of healing, spirit, and renewal. Ivy Wu’s vibrant ecosystems and Claude-Gerard Jean’s perceptual portals each translate the invisible forces of consciousness into dynamic visual language. Meanwhile, Stan Clark’s multimedia storytelling bridges nostalgia, humor, and cultural mythology, merging the personal with the universal. Together, these artists reveal that mythos is not confined to the past—it is alive in the textures of perception, emotion, and the stories we continually create to understand our world.
Chloe Alexander’s Mythos unfolds as a visual folklore of the contemporary South, where memory, family, and imagination intertwine. Through her layered printmaking techniques, she constructs narratives that blur the boundaries between the personal and the mythical. Her works echo the illuminated pages of storybooks and fables, where high contrast and intricate detail invite viewers into a world both familiar and enchanted. Each print becomes a vessel for storytelling—where family histories are reimagined, embellished, and made new through her distinct visual language. In Mythos, Alexander transforms the everyday into the extraordinary, weaving a living mythology from the textures of southern life.
Ivy Wu’s Mythos pulses with the rhythm of lived experience translated into abstract form. Her sweeping gestures and saturated colors create painterly ecosystems that mirror the flux between chaos and harmony in both nature and memory. Each composition becomes a kind of emotional cartography—mapping moments, sensations, and landscapes from her life across the globe. Through her intuitive and automatic process, Wu channels an inner mythology that feels both deeply personal and universally resonant. In Mythos, she transforms instinct into structure, allowing her paintings to embody the restless, generative energy of creation itself.
Claude-Gerard Jean’s Mythos is an exploration of perception itself—a visual mapping of the unseen forces that shape consciousness. Drawing from psychedelics, psychology, and countercultural thought, his work transforms optical phenomena into meditative instruments of awareness. Through the interplay of light, geometry, and motion, Jean constructs portals where vision dissolves into introspection and the boundaries between the inner and outer worlds blur. His compositions pulse with both precision and surrender, reflecting the tension between control and chaos that defines the human mind. In Mythos, Jean invites viewers to experience perception as myth—an evolving, luminous field where reality and imagination coalesce.
Philip Carpenter’s Mythos is rooted in the quiet reverence of observation—an intimate mythology of the everyday. Through his meticulous colored pencil studies, he elevates the humble and the overlooked, transforming weeds, flowers, and worn objects into meditations on beauty, time, and impermanence. Each drawing becomes a devotional act, preserving the fleeting grace of ordinary things and the traces of lives once intertwined with them. In Carpenter’s hands, realism becomes a form of tenderness, where precision serves as both homage and reflection. Mythos thus emerges as a celebration of the poetic in the prosaic—a personal cosmology built from the fragile, familiar relics of daily life.
Daisy-Anne Dickson’s Mythos unfolds as a visual language of healing and transformation—a meditation on how we reconstruct meaning from what has been broken. Through her experimental use of materials and layered abstraction, she gives form to the invisible stories of memory, emotion, and renewal that shape personal mythology. Her dual life as both artist and nurse deepens this inquiry, bridging the worlds of art and science, body and spirit, decay and restoration. Each work becomes an act of mending, where fragments of experience are reassembled into new expressions of wholeness. In Mythos, Dickson invites viewers to witness beauty reborn from imperfection—a testament to resilience and the continual rewriting of the self.
Christa Collins’s Mythos dwells in the liminal space between presence and memory, where emotion, intuition, and spirit converge. Her abstract compositions act as relics of the subconscious—records of what has been felt, endured, and transformed. Through an instinctive process of layering, erasure, and reconstruction, Collins builds tactile landscapes that echo both ancestral memory and personal revelation. Each work becomes an excavation of inner worlds, where rhythm and materiality translate unseen energies into form. In Mythos, Collins invites viewers into a meditative encounter with impermanence—where silence, texture, and gesture speak the language of transformation and remembrance.
Stan Clark’s Mythos is a vivid fusion of memory, storytelling, and multidisciplinary craft—where the boundaries between painting, illustration, and print dissolve into a single expressive language. Drawing from personal recollection and collective mythology, Clark’s imagery evolves like a living narrative, layered with visible traces of its own making. His works explore how time transforms memory, exaggerating and erasing details much like the retelling of a story or rumor. Blending analog and digital techniques, from collage to tablet sketches, he captures the psychedelic wonder of everyday life filtered through nostalgia and imagination. In Mythos, Clark transforms the ordinary into legend, weaving familiar cultural touchstones with deeply personal narratives to create timeless visual parables.