Silke Lindner and Rose Easton are delighted to announce SL × RE, a collaborative group exhibition across both galleries in New York and London. Rose Easton will show artists of Silke Lindner’s programme: Nina Hartmann, Sylvie Hayes-Wallace, Emma Kohlmann, Lyric Shen and Ang Ziqi Zhang, while Silke Lindner will host five of Rose Easton’s gallery artists: Arlette, Eva Gold, Louis Morlæ, Amanda Moström and Tasneem Sarkez, in New York.

Arlette

The work of the Mexican multidisciplinary artist Arlette often combines seemingly contradictory themes or materials to electrifying, sensual effect. Her use of metal, a medium associated with both longevity and art-historical nobility, is playfully undercut by her ongoing investment in expressing more fluid ideas related to luxury, sexuality, pop culture, and her own personal history. Amusement and arousal emanate from surprising places, just as both things sometimes take us by surprise in life—her practice is not merely about sex, but genuinely sexy, and any references to masculinity in her exploration of gender politics tend to be celebratory and libidinous. This interest in intimacy and sensation extends to Arlette’s work concerning faith, which is no less passionate in nature. Metal has spiritual associations in Mexican culture: the shaping of it requires graft and devotion, resulting in objects of great beauty whose high shine and imposing weight can turn abstract ideas into something physical and permanent. By giving tangibility to what might otherwise merely have been felt—like faith, or lust—Arlette takes the ephemeral and gives it a luxurious, three-dimensional luster, leaving behind pieces that are built to outlast us all.

Eva Gold

The work of the British visual artist Eva Gold, which spans various media from sculpture to drawing to moving image, is united by her undeniable eye for the cinematic, with her knowingly fetishistic use of materials like bone, steel, carved soap, leather, and vulcanized rubber suggesting an oblique or hidden narrative behind every installation. She applies a keenly directorial approach to her own imagined scenes, focusing on abstracted details to provoke the viewer into wondering what is happening beyond the frame, and sometimes using this deliberate elision of the wider picture to suggest illicitness, uncanniness, or the possibility of an unknown threat. Gold also incorporates found items that arrive with their own inbuilt histories, and plays with sensory elements like scent. Several pieces suggest bodies-as-parts: either dismantled, or present only in the ghostly shapes of hanging clothes. Power, violence, and the volatile nexus between both of these major forces per existence under the constraints of capitalism recur as potent themes, as do references to America—a place whose culture, in addition to being a locus for cinema, often presents us with amplified examples of this particular dynamic tension.

Louis Morlæ

The practice of the London-based visual artist Louis Morlæ operates at the intersection between two modes of creativity: that of industrial automation and manufacture, and that of character-driven narrative. The result is work which looks not to a distant and abstracted future, but to the furthest and most tantalising edges of what might be possible within the current moment. Seamlessly integrating video and sculpture, he uses game-engine rendered animation to bring his android-like figures—designed using CAD, and then 3D printed in component parts with PLA plastic, aluminium, steel and SLA resin—to life. His in-depth, multimedia worldbuilding explores our cultural and social engagement with tech, the metaverse, and the digital realm from a perspective on continuing technological advancement that is neither wholly utopian or dystopian. Morlæ’s works share not only a distinctive visual sensibility, but an invented reality, in which identifiably of-the-moment signifiers like Balenciaga trainers brush up against science-fictional, lightly surrealist future technology.

Amanda Moström

The Swedish artist Amanda Moström deals primarily with the erotic, albeit in an unconventional sense. Subtly humorous and rich in psychosexual undertones, her photographic work frequently appropriates familiar imagery and transforms it into something more provocative and intimate, complicating it with restaging or re-contextualisation. Her interest in expansive forms of sensuality extends to her bronzes, which upend the medium’s associations with solemnity and multiplicity by existing as one-off pieces that are deliberately imperfect, showing signs of human touch. Moström is inspired by the writing of the theorist Audre Lorde, who was quick to separate eroticism from the strictly pornographic or explicit, reclassifying it as “the personification of love in all its aspects.” Throughout her practice, she explores the conceptual and physical potential of softness, upending a cultural hierarchy that often prizes hardness and solidity instead, both materially and emotionally. The resulting works coax the viewer, made complicit by the act of looking, into confronting their own boundaries and preconceptions.

Tasneem Sarkez

Employing an aesthetic she describes as “Arab kitsch,” the New York based artist Tasneem Sarkez works across various media to create works that are united by an elegant marriage of pop culture visuals and potent symbolism. Elements of autobiography combine with broader mainstream signifiers, often nodding to American media and culture, in an ongoing exploration of her own experience of living in the diaspora as an Arab woman. The culture of the internet, with its ability to disseminate and recontextualise images on a global scale, is influential on her practice, as is a more art-historical interest in both romance and poetics. She has described her work as being intended to evoke a feeling of “Apricity,” an old-fashioned word that refers to the experience of feeling the rays of the sun in winter: a revelation of something real and warm hidden beneath the cool, slick surface of commercial imagery.