SHOW ROOM presents...

Patterns of Interference:
Zachary Bruder, Ethan Ryman, Gwenn Thomas

October 25 - November 17, 2013
Opening reception: Friday, October 25, 7 - 10 PM



SHOW ROOM | Gowanus presents its second exhibition, PATTERNS OF INTERFERENCE, opening October 25th.  The show brings together three New York artists—Zachary Bruder, Gwenn Thomas, and Ethan Ryman—who explore abstraction in their respective forms of drawing, photography, and sculpture.

These three artists expand the potential of black and white or off-white tones and line. Their projects ask what happens when light is caught, overlaid, and patterned; when perception is compressed to flatness, which then takes on its own depth.

The projects of all three artists rigorously adhere to their own parameters, yet their work pertains a reference to the external world—the elsewhere-ness of Thomas' original collages; Ryman's allusion to lighting and architecture; and the printing apparatus and symbolic culture called to mind by Bruder's drawings. Their projects demand a re-thinking of materials and forms in a satisfying triangulation. Each retains an inherent levity, a willingness to leave uneven edges or offer sly reminder that we are seeing a working table, a temporary structure, a pleasant moment of ambiguity.

In Gwenn Thomas's photo-emulsion works on linen, there is a captivating gap between the images and the collage constructions they depict. Mixing the archival and reflective to an evasive degree, the colorless image offers a glimpse of works not present. (It is as if we see the photographic equivalent of cire perdu, the hidden stage of the final cast.) The patterns of light in Thomas's works call to mind at once the rational practicality of Bauhaus, weaving, and the inherent qualities of photography—with the analytic quality of black and white countered by a vibrant balance of shapes.

Zachary Bruder's ink, pen, and toner drawings on artist panel follow the reductionist logic of post-war German and American painting. Bruder appropriates cultural symbols, treating them as empty artifacts to be redirected for his own use. The end results are elegant geometric arrangements, where the polygonal forms recall an endless stream of political and cultural icons. The shadowy realms of Bruder's drawings mimic halftone dots and hold the foreground on a popping outline of color. The effect is like examining these archetypes—flags, badges, et al.—beneath a magnifying glass.

Ethan Ryman's Performer, a sculpture of three boxes, sits positioned on the gallery floor.  Poised to catch and block light, the interiors of the boxes—the performance—change depending on their placement, with shadows piling up and constructing new angles. Merging ambient light and colors alter the Euclidean geometries of the work. The viewer's eye is encouraged to flatten three-dimensional shapes into a two-dimensional plane. Ryman's work tells of a city where eyesight is confronted with incidental abstractions as part of the daily routine, amid converging architecture lines. This concept is fortified by the accompanying photo-sculptural Convergence pieces that document light patterns in Performer.




Born in New York City, Ethan Ryman attended Carnegie Mellon Drama School, New School For Social Research / Eugene Lang College, New School Jazz and Contemporary Music Conservatory Program.  In 2011, he showed his work in Serra Sabuncuoglu's A Place To Which We Can Come at St. Cecilia Convent, Greenpoint, and was selected for Tomorrow's Stars at the Verge Art Brooklyn art fair. Other recent exhibitions include Hat Trick at DC Moore (2012); and Summer Ceylon at SHOW ROOM (2013). Ryman's work is also currently in the Come Together: Surviving Sandy show at Industry City, up until December 15th. Ethan has worked professionally as an actor, musician, arranger, producer, audio engineer, writer and artist. Prior to his art career, he engineered rap records for the likes of Wu-Tang Clan, Ol' Dirty Bastard, and others.

Zachary Bruder was born in 1984 and lives and works in New York City. His recent exhibitions include Greasy Pink, curated by French Neon in New York, NY; The Color Gray at Homeland, in Houston, TX; and The Brucennial 2012, curated by Vito Schnabel and the Bruce High Quality Foundation in New York, NY. He has exhibited with SHOW ROOM at the 2013 Drawing Now fair in Paris; and in 2013’s Summer Ceylon.

Gwenn Thomas is an artist who lives and works in New York. She is a graduate of the Cooper Union School of Art. Recently she has shown at Exile Gallery, Berlin; Art Projects International, New York; and Yvon Lambert, New York. Her work is included in the collections of The Metropolitan Museum of Art; The Museum of Fine Arts, Houston, TX; the Philadelphia Museum of Art; C.A.M., Fundação Calouste Gulbenkian, Lisbon, Portugal; and The Fogg Museum, Cambridge, MA. A survey of Thomas's work was published this spring by Charta (Milan).




SHOW ROOM is a contemporary gallery founded in 2011, presenting exhibitions of mid-career and emerging artists. The gallery enters its third year at a new location in Gowanus, Brooklyn, on 460 Union St.. SHOW ROOM | Gowanus is located by the Union St. Bridge, mid-way between Bond St. & the Gowanus Canal. The nearest subway stops are the Carroll St. F/G and the Union St. R. Please call or write for more information—images of the current exhibition are available at