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77 East 3rd St.
/virtu.all
OPEN CALLS:
Contact
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CURRENT: 3RD ST.
April 10 - May 9, 2026
HANDMADE INTERVENTIONS
A Group Exhibition Curated by The All Street Collective
Featuring:
Ainaz Alipour
Andy Marlowe
Siri Burt
Isa Dorvillier
Ronald Gonzalez
Noa Bornstein
Flor Khan
Javier Enrique
Matthew Logsdon
Lisa di Donato
MiJung Yun
Sydney Abady
Katrina Slavik
Opening Reception
April 10th
6-8pm
PRESS RELEASE
NEW YORK, NY — All Street Gallery presents Handmade Interventions, a group exhibition bringing together artists whose work foregrounds the visible traces of labor and touch. Spanning textiles, printmaking, sculpture, ceramics, photography, collage, and assemblage, the exhibition explores how marks of making (stitches, casts, layered impressions, seams, burns, fingerprints, and chemical irregularities) become central to how meaning is carried through materials. The exhibition features work by Ainaz Alipoor, Syd Abady, Noa Bornstein, Siri Burt, Isa Dorvillier, Lisa di Donato, Ronald Gonzalez, Flor Khan, Matthew Logsdon, Andy Marlowe, Javier E. Piñero, Katrina Slavik, and MiJung Yun.
At a moment when images can be generated, replicated, and circulated at unprecedented speed, Handmade Interventions turns attention to works that insist on the presence of the maker. The exhibition does not frame handwork as nostalgic or anti-technological; instead, it proposes that visible labor functions as a conceptual strategy. Across the works on view, time becomes legible through material process: knots accumulate one by one, drawings emerge through dense layers of line, collages reveal decisions of cutting and rearranging, and sculptural forms preserve the pressure of casting, molding, and assembly.
The exhibition’s premise echoes media theorist Marshall McLuhan’s claim that “the medium is the message.” Here, the medium is labor itself. The meaning of each work is inseparable from the duration and physical engagement required to produce it. In contrast to an image economy defined by seamless surfaces and instant output, the works in Handmade Interventions keep their seams and processes visible. Throughout the exhibition, artists mobilize handmade processes as a way of translating broader structures of space, identity, memory, and production into material form.
Several artists in the exhibition use textile processes to explore memory, migration, and the politics of everyday material life. Syd Abady reimagines familiar visual systems such as symbols, geometric patterns, letters and numbers through needlepoint, transforming graphic symbols that structure public space into labor-intensive stitched surfaces that foreground time and care. Flor Khan approaches collage as a narrative practice, transferring, cutting, and recombining fragments of images to explore identity, storytelling, and the experience of returning, emotionally or geographically, to diasporic memory and survival. Isa Dorvillier works with textiles, cyanotypes, and place-based research, treating fiber techniques as forms of environmental observation and record.
Ainaz Alipoor works with textiles and soft sculpture to examine how diasporic and gendered bodies move through structures of visibility, care, and displacement. Drawing from Iranian sewing and embroidery traditions passed through generations of women, her work foregrounds stitching, layering, and exposed seams as visible acts of labor, where tactile surfaces carry traces of migration, memory, and embodied presence. Katrina Slavik similarly approaches textile processes as a way of tracing connections between people, ecosystems, and urban histories. Working with repurposed clothing, bedsheets, towels, and other donated fabrics, Slavik’s quilted and embroidered compositions extend working-class traditions of reuse and repair, bringing intimacy to materials originally produced within anonymous global manufacturing systems.
Several artists examine the relationship between technological image-making and tactile process. Lisa di Donato’s Ontic Glow series channels networked landscape imagery into tintype photography, allowing chemical irregularities and material accidents to interrupt the seamlessness of digital vision. Siri Burt merges ceramics with photographic processes, producing surfaces where images warp, fracture, and fuse with sculptural form.
Other works foreground repetition and accumulation as embodied knowledge. Matthew Logsdon constructs sculptural forms through knotting and layered materials, exploring how sustained manual labor produces understanding through touch and endurance. Ronald Gonzalez builds assemblages from found materials, linking personal history with processes of accumulation and reconstruction.
Casting and modeling processes also preserve the artist’s search for form. Noa Bornstein’s sculptures are cast in bronze, capturing plasticity and emotion while allowing traces of modeling and reworking to remain embedded in the final surface.
Elsewhere, mark-making itself becomes a measure of time. MiJung Yun creates dense drawings built from repeated lines, transforming drawing into a record of duration and sustained attention. Andy Marlowe intricately handcuts paper resembling doilies, and meticulously draws in graphite, calling attention to the care and specificity necessary to the creative process.
Across these diverse practices, Handmade Interventions proposes a simple premise: labor is not hidden behind the artwork; it is the artwork’s most visible surface. Seams, knots, and material irregularities act as records of touch, time, attention, and material transformation.
About the Artists:
Ainaz Alipour is an interdisciplinary artist working across textiles, installation, and digital media. Their practice engages embroidery, soft sculpture, and image-based
technologies to examine diasporic memory, gendered space, and the politics of visibility. Drawing from Iranian cultural history, architectural forms, and personal archives, Alipour reimagines domestic and public spaces as sites of intimacy, resistance, and care. Alipour’s work often collapses boundaries between craft and technology, treating textile surfaces as narrative structures that carry traces of the body, labor, and time. Through material processes rooted in traditional sewing and embroidery alongside contemporary digital tools, they explore how histories are embedded, erased, and reactivated through space.
They have participated in residencies at the Virginia Center for the Creative Arts (VCCA), The Studios at MASS MoCA, Vermont Studio Center, Surel’s Place, and On::View Residency in Savannah, and have exhibited nationally in solo and group exhibitions. Alipour is currently based in the United States, where they continue to develop installation-based projects that invite slow looking and close reading, offering visual fragments that function as thresholds between memory, architecture, and embodied experience.
Andy Marlowe (b. 2000) is an artist and writer from the Forgotten Coast of Florida. They are based in New York City.
Siri Burt is a visual artist based in NYC, with her BFA in Photography and Video from the School of Visual Arts and has recently received her MA in Contemporary Art Practice awarded with Distinction from the University of Edinburgh. She has received notable grants and residencies, including from the Royal Scottish Academy and New York Foundation for the Arts. She is currently researching her own familial myths and combining them with collective memories, focusing on the symbolism behind the human body.
Isa Dorvillier is an artist and educator from Queens, NY. She earned a Bachelor of Fine Art in Fiber from the Maryland Institute College of Art in 2021. Isa’s work has been shown and supported by The Fabric Workshop and Museum, The Peter Bullough Foundation, Psychic Readings Gallery, Immaterial Projects, Tempest Gallery and All Street Gallery. Dorvillier teaches art in formal and informal settings including Queens Public Library, Brooklyn Public Library, and NYC Public Schools. She leads walking tours in Ridgewood and surrounding areas supporting participants to develop embodied awareness of the neighborhood’s topography and ecology both historical and present. In 2026 will serve as Storyteller In Residence with the Newtown Creek Alliance and Melting Metropolis where she will investigate the impact of urban heat on communities surrounding the creek.
Ronald Mario Gonzalez is a sculptor and installation artist known for transforming timeworn objects and abject materials into haunting serial forms. Since the mid-1970s, Gonzalez has developed a distinctive visual language through reimagining discarded fragments as vessels of memory, identity, and mortality. His practice privileges process and improvisation through material invention and object investigations giving human presence and psychological weight to evocative heads, figures, and assemblages that explore loss and the reclaiming of history and memory. Gonzalez constructs an unsettling, yet deeply resonant sculptural universe memorializing and animating the passage of time and existential complexities of the human condition.
Sculptor and drawer-painter Noa Bornstein was born in San Rafael, California and grew up in Los Angeles. She has a B.A. in Art with a minor in dance theater (unofficial) from the University of California at Santa Cruz (UCSC). Bornstein moved to NY from Europe in 1986 after studies for her 100’long mural Magritte in Los Angeles were exhibited in L’Institut superieur pour L’Etude du Langage Plastique, Brussels; La Galerie de la province de Hainaut, Mons, Belgium, and The Wuk Kulturhauser, Vienna, Austria. Another early mural is the 43’ high by 90’ long, Striving Together for the Harlem Rehabilitation Center in NY in 1987. Group gallery exhibitions since 2005 to the present include Sculpturesite Gallery, San Francisco; The Walter Randel Gallery, Manhattan; the Rotunda Gallery and Holland Tunnel Gallery, Brooklyn; the Atelier Fine Art Gallery and Toad Hall Gallery at Grounds for Sculpture, New Jersey; the Vital Arts Studios in Queens; and the Triennial Sculpture Review, Yonkers Arts, Yonkers, NY, 2025.
Bornstein’s public sculpture, the life-size bronze Peace Gorilla, is currently installed in Greenpoint Brooklyn at Broadway Stages, a film and tv company dedicated to supporting the environmental organizations and the arts. This is the sculpture’s third placement since its installation at Dag Hammarskjold Plaza across from the UN in Manhattan, and in Newtown Barge Park, Brooklyn, under the auspices of NYC Park’s Art in the Parks Program. The sculpture is mounted on a base embossed with the word
“friend” in 90 languages. Peace Gorilla welcomes touch and has been visited by a blind walking group and visually impaired individuals. A tactile QR code on the base leads to an audio description and the piece’s creation story. Young and old can touch and are also welcome to make themselves comfortable and sit on the sculpture. Bornstein’s public murals were featured in Art in America; Artnews; The Los Angeles Times,The New York Times; and Le Soir (Brussels) among other publications.
Flor Khan is a multidisciplinary artist whose work explores grief, mixed identity, and family archives as portals into the histories that shape our inherited and self-constructed notions of belonging. Through photo transfer, she excavates personal and diasporic memory often lost to collective imagination. Thread runs through her practice as both material and metaphor: a site of repair, mending, and the crossing of languages and cultures, borders and maps. Her work considers how empire redraws land and movement, how migratory routes are imposed, altered, and survived. Moving between rupture and restoration, she stitches what has been severed back into view.
Javier Enrique is a Puerto Rican visual artist and stonemason apprentice at BAC Local 7 working between New York City and the archipelago. Through photography and sculpture, he creates spaces of contemplation that explore how devotion, design, solitude, and memory intersect. His materials, including marble, stained glass, cyanotype, and paper, are deconstructed and reassembled as contemporary monuments that carry traces of touch and time. Across mediums, his work forms a melancholic and uncanny language that reflects the human impulse to build meaning from absence and asks how ritual survives within the everyday, allowing the sacred to emerge quietly within the ordinary. He holds an M.S. in Public Relations and Corporate Communications from New York University.
Matthew Logsdon (b. 1982, Columbus, OH) is a Brooklyn-based artist and curator working at the intersection of textiles, painting, and sculpture. He is the founder of Field of Play, a nonprofit contemporary art space in Gowanus dedicated to emerging and experimental practices. Logsdon received his MFA in Studio Art from Hunter College
(2015) and his BA in Art from The Ohio State University (2005).
His work has been exhibited at Below Grand, Hesse Flatow, Tappeto Volante Projects, and Thread Count at The Hole, New York. It has been featured in Hyperallergic and is included in the Fidelity Investments corporate collection. From 2008 to 2012, he developed The Bus Project, an ongoing public art initiative in Columbus, Ohio. In addition to his studio practice, he has curated numerous exhibitions at Field of Play and at SPRING/BREAK Art Show (2023).
Lisa di Donato is a visual artist based in New York. She studied Painting at the Rhode Island School of Design, receiving her Bachelor of Fine Arts. She is a 2022 NYSCA/NYFA Artist Fellow in Photography. Recent exhibitions include the Brooklyn Artists Exhibition, Brooklyn Museum, 2024; with site-specific installations at SITU Festival #5, Modica (IT), 2024; MEET Digital Culture Centre, Milano (IT) with the artist group One&Seven, 2022; and The Makeable Mind, Noorderlicht Festival (NL), 2021. Her work has been featured in Tied to Light Vol 2, Urbanautica, Fragmented Magazine, ARCADE and New Observations.
Born in South Korea and currently working in Boston, MiJung Yun is a visual artist best known for drawings of natural phenomena and abstract paintings. She is a 2025- 2026 Post Graduate Teaching Fellow (PGTF) in painting at the School of the Museum of Fine Arts at Tufts University. Throughout her career, she has favored charcoal, graphite, pen, and ink on paper, and acrylic and oil paint on canvas. These materials are used to depict the structures of natural imagery and human figures from life, memory, and imagination. MiJung received her B.A. in Education and M.A. in Curriculum and Instruction Education from Arizona State University. Later, she decided to pursue art as a profession and achieved an A.A. in Fine Arts from Mesa Community College. She received her MFA (2025) in Studio Art at the School of the Museum of Fine Arts at Tufts University. She is a recipient of Tufts University’s Domestic Travel Grant, SMFA at Tufts 2025 Traveling Fellowships, and 2025 Nichols Drawing Breath Award.
Sydney Abady is an artist and educator who explores the politics and personalities of homes through a textiles-based practice. Her art incorporates architectural imagery, found objects, and fiber techniques to question issues of public and private spaces. She received her BFA from the Rhode Island School of Design (RISD) in Textiles and Nature, Culture, Sustainability Studies with an emphasis on Urban Studies. She is the recipient of a Fulbright Fellowship in Chile and has exhibited at El Museo de la Memoria y los Derechos Humanos, the Children’s Museum of Manhattan, the Museum of Arts and Design (MAD), the Bronx Museum of Art, and the Museum of Contemporary Art, Los Angeles (MOCA LA). Syd’s current studio practice is based in public spaces wherever she may be.
Katrina Slavik currently lives and works in Queens, NY. She graduated from Maryland Institute College of Art in 2014 with a BFA in Painting. Her most recent solo exhibition was on view at the historic John W. Rea House at Passaic County Arts Center, NJ, January 2025. Previous solo exhibitions include Tutu Gallery, Brooklyn (2021), and Wild Bird Fund Window Gallery, Manhattan (2020) which was connected to a wildlife rehabilitation center. Selected group exhibitions include: PS122, MAPSpace, BlancSpace, All Street Gallery, Bob’s Gallery, HEREarts Gallery, and Interchurch Center Galleries, among others. This year she presented a food art activation at MAPSpace and Tempest Gallery. Residencies include Bischoff Inn Residency in 2025 and NYC Audubon Society (Governors Island) in 2021.
About All Street Gallery:
Founded in 2018, All Street Gallery is a gallery and platform for emerging and underrepresented artists whose work focuses on social engagement and community empowerment. Initially created as an artist collective and grassroots protest organization, All Street is driven by its roots in the city’s creative community. The gallery’s mission is to use art as a means of protest, resistance, and social change, highlighting voices that challenge the status quo. After opening its first location on East Third Street in the East Village, All Street expanded in 2023 with a second space at 119 Hester Street. Both locations continue to provide a platform for artists whose work addresses important social and political issues.
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