Voloshyn Gallery is pleased to announce our participation in Felix Art Fair 2025, taking place from February 19 to 23, in Los Angeles. We warmly invite you to visit our booth, where we will be showcasing a selection of works by artists Camilla Taylor, Liz Walsh, Cathy Akers, Lara Joy Evans, Andrews Durgin-Barnes, Matteo Callegari, Lesia Khomenko, and John Knuth.
Exhibition Details:
VIP Preview Date: Wednesday, February 19, 2025, 11 AM to 8 PM
Fair Hours: Thursday–Saturday, 11 AM to 7 PM, Sunday 11 AM to 5 PM
Voloshyn Gallery’s booth aims to inspire an international dialogue and exchange of artistic practices by presenting the work of artists from multiple corners of the world such as Ukraine, Italy, and the USA. It is also our aim to showcase artists from Los Angeles who have been affected by the 2025 Southern California fires in January. By bringing together a variety of artistic media such as painting, ceramics, sculpture, and photography, we seek to broaden the conversation by covering a wide range of forms of expression.
The prints, ceramic, and glass sculptures of Camilla Taylor look through dark mirrors, searching for an expressive language to capture the fleeting mirage we call self. She is fascinated with the disparity between self-perception and one’s deeds; how self-deceptions give us comfort and smooth away the rough edges of our behavior that we deem irreconcilable with the public identities we create for ourselves. She seeks to disturb the mirage, to drop a stone into the reflective pool of Narcissus. Taylor uses the body, hands, hair, torsos, and heads, creating powerful expressive forms and exploring materials and the impact that they have on the emotional tenor of her sculptures. It is a search for apparitions and visages that communicate something hidden, maybe something unwanted, to explore the secrets and lies of self embedded in the flesh. Her prints featuring endless staircases leading into the abyss warn the viewer of the often long, complex, and perhaps, impossible search for our true selves.
The stoneware vases and sculptures of Cathy Akers continue her exploration of the two experimental open land communes in Northern California—Morningstar and Wheeler’s Ranches. Akers animates archival photographs and interview texts to create her melancholic yet playful ceramic and photographic installations. The stories told by the women and children in these communes often expose the misogyny and physical hardship that were part of daily life there. By inscribing the women’s stories into the clay of the vases, and applying archival images to the surfaces, Akers hopes to ensure that the stories of these women and children, who have been devalued or overlooked, are heard. As a vessel traditionally associated with women and domestic life, one that was used as a storytelling object during ancient Greek and Roman times, the vase is a fitting form for this project. Through her art, Cathy Akers explores an essential aspect of human nature—the desire to create a more perfect society.
The paintings of Liz Walsh and Andrews Durgin-Barnes showcase a nocturnal setting evoking a sense of serenity and inviting the viewers to acknowledge the world around them. With her richly colored floral arrangements, Walsh explores the duality of light and darkness, the action of reclaiming the darker parts of her psyche through the creation of these works is attempting to bring self-awareness and healing to a greater audience, inviting a deeper connection for the viewer to both ourselves and the world around us.
Matteo Callegari’s Protection represents a black panther captured in a moment of a complete expression of its animality and the animal’s specific role within the rainforest’s ecosystem. The artist makes the figure emerge through short strokes of color, thus literally bringing the animal to manifest itself on the canvas. It is precisely this choice that distances the realism of this work from any purely narrative or documentary intent, elevating it to a more spiritual dimension. In the artist’s perception, these animals are not conceived as subjects, but rather as potential energetic conduits to connect the observer to the primordial energies they represent.
In his series of New Landscape paintings, John Knuth challenges traditional notions of art making by creating aesthetically stunning works through indelicate techniques, taking materials and processes regarded as base and making them into something magnificent. Knuth is recognized for his engagement with environmental concerns and, therefore conjures unnerving images of distorted, and modified landscapes in the New Landscape series. He states that human production, in general, has, and continues to, rapidly reshape the world, in ways that we cannot yet fully understand. Exploring the ramifications of that change, particularly to the natural landscape, is an important underlying theme in his practice.
Lesia Khomenko’s paintings seek to explore the viewpoint of a person affected by the severe trauma of war and their outlook on the mundane in a peaceful society. Captured from a high vantage point and showcasing pedestrians walking on one of New York's streets, the two The observation of 24th West street in NYC from the perspective of the 18th floor with war's affected gaze paintings juxtapose the seemingly blissful unawareness of the streetwalkers and the distorted vision of the artist affected by trauma. The paintings reveal to the viewers a glimpse of personal struggle and the duality of one’s life.
The photographic works by Lara Joy Evans showcase a series of experimental 3D printed frames and varying approaches to photography including landscape documentation, traditional black and white film, and neural network-generated flesh forms. Neo-deco, organic, and mechanic motifs are present throughout the objects and images – a mise-en-scène for a birthing future. Machine manufacturing of resin frames, combined with the potential for technical reproduction inherent in printed images (c-prints), is complemented by the artist’s unique handwork in the construction of each frame, its coloring and mounting as well as neural net generation. The result is a new object at the intersection of technical reproduction and fabrication, manual labor, and artificial intelligence. On this basis, there is attention to the materials, techniques, and processes involved in production (the chromogenic print results from the interaction of solar radiation and silver nitrate; UV-activated resin) as they interact with the narrative created by the imagery (geothermal mud, lithium mines, relics of technological progress, and energy forms from the sun and the earth's core, to cell mutation) to address the entropic tendencies of the universe, or the theme of processes of reproduction or deformation.
About the Artists
Camilla Taylor is a Los Angeles-based artist who is recognized for their monochromatic and intensely introspective works on paper and sculpture, which utilize figurative and architectural forms. Taylor’s artworks reflect the viewer’s internal lives as well as the collective issues we experience as a society. An accomplished artist exhibiting in traditional gallery spaces, they also create installations in intimate and unusual locations, such as site-specific works in a swimming pool, desert garden, and other places. Raised in Provo, Utah, Taylor attended the University of Utah and received a BFA in 2006, and an MFA from California State University at Long Beach in 2011.
Liz Walsh is a multidisciplinary artist currently living and working in Los Angeles, CA. Drawing inspiration from California’s sprawling landscapes—both natural and urban—Walsh creates intricate tableaux that blur the boundaries between the organic and the surreal. Her work is infused with motifs of plant life, animal forms, and technological elements, weaving together vibrant pop aesthetics with overgrown, untamed gardens. These compositions act as portals into internal landscapes, reflecting emotions, memories, and subconscious narratives.
Recurring themes in Walsh’s work include the depiction of cockpits, mythic creatures, and exaggerated flora—symbolic elements that explore the tension between control and chaos, the natural and the artificial. Spirits, technology, and entropy emerge as central forces in these worlds, evoking a sense of wonder while also hinting at the fragility of human and ecological systems. Through the interplay of these elements, Walsh seeks to both entice and unsettle the viewer, offering a vision of reality that feels at once familiar and otherworldly. She has attended the Headlands Center of the Arts residency as well as a residency at Cooper Union in NYC.
Cathy Akers (b. 1973) is a Los Angeles-based artist who holds an MFA from the California Institute of the Arts and a BFA from Tufts University. Her work has been in solo exhibitions at venues such as Pitzer College, Claremont; Elephant, Los Angeles; Emma Gray Headquarters, Los Angeles; and Honor Fraser, Los Angeles. Her work has been featured in group exhibitions at venues such as Artist Curated Projects, Los Angeles; Charlie James Gallery, Los Angeles; The Brand Library and Art Center, Glendale; Santa Monica Museum of Art, Santa Monica; Los Angeles Contemporary Exhibitions, and the 18th Street Arts Center, Santa Monica. Her work has been reviewed and included in publications such as Art in America, Los Angeles Times, Art and Cake, and LA Weekly.
Andrew Durgin-Barnes (b. 1985, San Diego, CA) has lived throughout the US, drawing inspiration from an amalgam of varied landscapes and personal scenes. His paintings express narratives through a conceptual collage of his history, combined with classical motifs of allegory, to draw on the emotions that form the human condition. The influences of Classicism, a mastery of traditional mediums and the forgotten practice of plein-air painting, are tangibly interlaced with elements from graffiti and urban sprawl, creating surreal scenes that ignore a separation of time and space; merging an old world with the new one.
Lara Joy Evans (b. 1993. Los Angeles, CA) lives and works in Los Angeles, CA. Evans received a BA from the Gerrit Rietveld Academie, Amsterdam, The Netherlands. Evans’ recent solo exhibitions include: Empedocles, Final Hot Desert, Lund, NV; Arnhemse Uitnacht, Code Rood, Arnhem, The Netherlands; Primal_ditch_BP (before present), Galerija Miroslav Kraljevic, Zagreb, Croatia. Evans’ recent group exhibitions include: The last man on planet earth, ASHES/ASHES, New York, NY; Dreams in Deixis, Tufenkian Fine Art Gallery, Los Angeles, CA; Earth Positive, Spas Setun, Moscow, Russia; Pineal Eye Infection, Seasons, Los Angeles, CA; Paradise on Mars, OJ Art Space; Istanbul, Turkey.
Matteo Callegari (b. 1979, Latisana, Italy) is a contemporary artist whose practice revolves around exploring the interconnectedness of nature and spirituality, often focusing on animals and landscapes for their symbolic power. He primarily works with oil on Indian linen, creating detailed and meditative paintings that blend figurative and abstract elements. Callegari's stylistic approach involves a painstakingly painterly technique, where he overlays, replicates, erases, and manipulates found images to create linear networks of imbricated lines and structures, resulting in artworks that distort in their making and emphasize the extension of nature into the spirit and vice versa. Callegari holds an MFA from Hunter College, New York. He has exhibited at Thomas Bambrilla Gallery, New York, Giovanni’s Room, Los Angeles, Carl Kostyál, London, Ramiken Crucible, New York, and other venues.
John Knuth (b. 1978 in Minneapolis, USA) is a contemporary artist whose creative conjurings challenge traditional notions of art making, even in this millennium. His paintings force extreme tension between the sacred and the profane, creating stunning works by way of indelicate techniques. Knuth's mission is to take something traditionally regarded as a base and to make it into something magnificent, where the materials feel secondary to the radical result. Knuth's approach is alchemical. Like an art world diviner, he conjures the elements, from making burn paintings with distress flares and metallic space blankets to using fly regurgitation to make the most incandescent, shimmering paintings. He has perfected his process using flyspeck, which can be said to fall within the art historical continuum that includes the Pre-Raphaelites' Mummy Brown or Chris Ofili's elephant dung.
Lesia Khomenko (b. 1980, Kyiv, Ukraine) is a contemporary artist as well as co-founder and member of the R.E.P. group (since 2004) and the curatorial group Hudrada (since 2008). She was on the short list of the PinchukArtPrize (2009, 2011, and 2013), and Future Generations Art Prize with the R.E.P. group (2012) founded by Victor Pinchuk and Kazimir Malevich Artist Award (2012 and 2016). Lives and works in New York, NY, US. Her works are in public collections including M HKA (BEL), Ludwig Museum (HU), Art Collection Telecom (DE), and Albertinum (DE). LesiaŹ¼s works have been shown in several solo and group exhibitions, among others at the Ukrainian Museum in New York, New York (US); Albertinum, Dresden (DE); Collateral Event of the 59th and 60th International Art Exhibition at the Venice Biennial, Venice (IT); The European Parliament (BE); Museum Folkwang (DE); Fridman Gallery, NYC (US). Khomenko’s works have been covered and reviewed by The New York Times, The Washington Post, The New Yorker, The Art Newspaper, and Frieze, among others.
About Felix Art Fair
Established in 2018, Felix is an art fair created with the intention to foster intimate experiences that prioritize conversation, collaboration, and community.
About Voloshyn Gallery
In 2016, Max and Julia Voloshyn established Voloshyn Gallery in the heart of Kyiv, Ukraine. Situated in a historic 1913 building, Voloshyn Gallery’s space provides an unconventional setting for contemporary art. It exhibits a broad range of works in a variety of media, representing both emerging and established artists. Voloshyn Gallery hosts solo and group exhibitions, works with accomplished curators and museums, and takes part in leading contemporary art fairs. In 2022, Voloshyn Gallery made the difficult decision to close temporarily due to the full-scale invasion of Ukraine. In 2023 the gallery reopened its doors in Kyiv, Ukraine, and also expanded with a space in Miami, Florida.
Exhibition Details: 19-23 February, 2025
Location: Hollywood Roosevelt Hotel, Los Angeles, USA, Tower 1206