Unedited conversations between artist in a productive critique  discovering  thesis and processes behind the work.











For October, Lee Materazzi, Adler Guerrier, and Olivia Ramos, contribute discussions about their practice.


Conversations also extend to local work, this month being Guccivuitton's exhibition of paintings by Scott Armetta

Lee Materazzi

Field of Flowers, 2014


34 x 46"

Conversation between Guerrier and Ramos

Scott Armetta



September 20 - November 01, 2014

Ramos in conversation with Materazzi

Olivia Ramos

Systems, 2014

Oil on Canvas

18 x 25"


Lee Materazzi


Lee Materazzi's photographs have a sculptural quality, attributed to her studies at Central Saint martins in London where she completed her degree in fine arts. The photographs are based in everyday life, though Materazzi transcends the documentarian quality of life to elevated concepts about living. The photographs take the mundane tasks and chores of our existence and express the way in which they affect our consciouses.





Adler Guerrier


‬Miami-based artist Adler Guerrier (b. 1975) works in a variety of media, including sculpture, photography, prints, and collaged works on paper. Guerrier’s practice investigates the mutability of text and image and the variability of meaning. He is as interested in politics as he is in poetics, and his work explores the rich territory between them. Often using Miami as a physical site and an embodiment of realized (and unrealized) moments in American political and social history, Guerrier examines, repurposes, and sometimes fictionalizes the city through his work. Guerrier’s oeuvre is expansive in its engagement with the urban environment, art history and materials and this exhibition will bring together a selection of work from the last decade of his career alongside new work produced for this presentation.








Guccivuitton is pleased to announce 10a/10b, a solo exhibition of the paintings of Scott Armetta. Armetta’s paintings depict uninhabited landscapes in South Florida, specifically those of Plant Hardiness Zones 10a/10b.


From a distanced glance, Armetta's paintings court traditional paradigm of landscape painting in that they meet certain expectations: a tree is a tree, leaves are depicted as leaves and a horizon line offers the divide between the land and the heavens above. These modestly sized paintings are also intentionally framed, usually with found frames from thrift stores. It is as if to indicate that these pictures are to be contextualized in an accessible and conventional manner, disarming the contemporary eye. Perhaps even inviting rejection from those who would dismiss them as pastiche.


If, however, you come in close to observe them, Armetta’s paintings reward you with their contrarian persuasion and haunted sensibility. Their methodologies pulse in and out of explicit interpretations of representational space. Atmospheric gestures, ghost like smudges and stark brush strokes are employed along-side rendered objects. Modrian’s and Hoffman’s “push and pull” mechanics are inferred in lieu of or harmoniously with perspectival space. As expectations are interrupted the paintings push their way into historical grey area neither behind us or forging ahead, thus undefined, haunted.


Armetta's obdurate position to the tradition of landscape painting, offset by his curious forays into modernist constructs, contextualize him as an obstructionist to the type of fast image familiarized more recently by Gerhard Richter. Coincidentally, this is also what makes his paintings refreshingly interesting.