Veins in Between
April 3 - 12, 2026
13 Grattan St, #402, Brooklyn, NY, 11206
New York, NY — A Space Gallery is pleased to present Veins in Between, a group exhibition exploring the subtle entanglements between the city and nature.
Bringing together artists working across painting, sculpture, and mixed media, Veins in Between traces fragments of life that persist within overlooked urban spaces. Rooftop greens, sidewalk drawings, abandoned structures, and quiet pockets of vegetation emerge as sites where memory, loss, and environment intersect. Rather than positioning nature and the city as opposing forces, the exhibition considers how organic rhythms continue to circulate through the accelerated systems of contemporary urban life.
Ai Xuefeng’s painting reflects on the symbiotic relationships that bind communities of life over time, where branches, organisms, and spatial networks intertwine to form a silent polyphony of interconnected existence. Within this organic maze, space is no longer a neutral background but a living structure woven by relationships between individual lives, suggesting a visual philosophy in which life and space continuously shape and annotate one another.
Ashley Yu’s Moon Wanderers presents a fragmented glimpse of the city where traces of the moon and slips of nature drift through layered urban memories, suggesting a quiet dialogue between celestial cycles and the overlooked textures of everyday space. Caito Stewart’s ceramic and mixed-media sculptures revisit ruins and abandoned landscapes, depicting anatomical forms and childhood objects gradually reclaimed by moss, fungi, and vines as reflections on grief, impermanence, and the persistence of natural cycles.
Feiyang Yin approaches the exhibition’s theme through a broader reflection on how natural rhythms persist within accelerated urban environments, emphasizing the subtle ecological gestures embedded within everyday urban textures where memory, loss, and transformation quietly surface within the built landscape. Keming Chang’s Untitled (Light-Seeking Tree) translates the biological phenomenon of phototropism into an interactive sculptural system where sensors, motors, and fabric respond to surrounding light, forming a hybrid body in which mechanical movement echoes the quiet intelligence of living organisms.
Lila Freeman’s observational paintings trace the layered environments surrounding her daily life, from the aluminum-sided buildings and elevated train tracks of East New York to plein-air studies of overlapping natural and architectural forms. Skylar Walker’s Land Back envisions Indigenous stewardship and sovereignty through an image of flowers blooming from the seams of highways and roads, where persistent blossoms soften the impositions of modern infrastructure and gesture toward a future in which ecological care and political sovereignty coexist. Taissia Basaria’s Jayden with his chalk drawings of green flowers, yellow lion, orange heart, white whale, blue dad and pink butterfly monumentalizes a child’s sidewalk chalk drawings, transforming ephemeral street gestures into a vibrant contemporary landscape that reflects humanity’s earliest relationship with nature.
Muge Li’s work listens to the quieter soundscape of nature within the city. Inspired by the persistent chorus of insects in the trees at night, the work imagines these sounds not as background noise but as a hidden concert unfolding in the darkness, inviting viewers to reconsider the lively conversations and rhythms that continue beyond human perception In Chess, but pigeons and traffic cones, Sarah Feingold reimagines familiar elements of the urban street as playful pieces within a strategic system, highlighting the choreography of everyday city life. Troy Medinis’s painting reflects on the disappearance of the night sky under conditions of urban light pollution, where artificial lights scattered across the city form new constellations that mirror the infrastructures and values of contemporary society.
Together, the works in Veins in Between reveal the city not as a purely constructed environment but as a porous landscape where organic processes continue to emerge. Within cracks in pavement, fading chalk drawings, shifting light, and abandoned structures, the exhibition traces the quiet ways nature persists—threading itself through the textures, memories, and infrastructures of urban life.
Installation View
