Pressure

Jeff Larson and Richard Rodriguez

Pressure considers the forces that shape us, both seen and unseen. It is the weight of the atmosphere, the imprint of a hand in clay, the transfer of ink from plate to paper. It is also memory, expectation, inheritance, and desire. Though intangible, pressure leaves a trace.

Through printmaking, ceramics, and assemblage, Richard Rodriguez and Jeff Larson explore how force becomes form. Rodriguez's monotypes draw upon Indigenous visual traditions and personal heritage, layering gesture and mark as records of identity and remembrance. Larson's vessels bear the evidence of touch and labor, embodying both containment and vulnerability while holding space for reflection and absence.

Throughout the exhibition, clay yields, surfaces receive impressions, and materials become repositories of lived experience. What accumulates internally finds expression outwardly. Like weather shaping a landscape, pressure alters, transforms, and reveals. Rather than a burden alone, Pressure presents force as a generative condition, one through which memory takes shape, identities emerge, and meaning is made visible.

Jeff Larson

Jeff Larson’s practice begins in the space between image and object, where memory gathers like clay in the hollow of a vessel. After fifteen years teaching fine art photography at the university level, he turned his attention toward an expanded studio practice in ceramics. Born and raised in Wisconsin and grew up in Washington, D.C., during the 1960s and 1970s, Larson developed a sustained engagement with a broad range of artistic media, each offering a different way to hold, mark, and translate experience.
 
His current work approaches the vessel as both a physical form and a poetic structure, bringing together the grain of printed surfaces, the ghosted depth of photographic imagery, and the tactile weight of clay. Through these materials, he creates layered assemblages that evoke the human body, the pressure of touch, and the traces of lived experience. He is currently pursuing a Master of Fine Arts in Ceramics, deepening his material research while preparing to establish an independent studio practice. 

Selected Works

The Circle Dance, 2026 Monoprint On Mulberry 15” x 22”	Homage to the Blue Horses (Marc), 2026 Monoprint 15” x 22”	The Depths of Eternity, 2026 Monoprint 15” x 22”
The Falling, 2026 Monoprint On Mulberry 15” x 22”	The Chaos Before, 2026 Monoprint 15” x 22”	The Dance of the Majha, 2026 Monoprint On Mulberry 15” x 22”
The Gates of Heaven, 2026 Monoprint 15” x 22”	The Order of the Aubergine, 2026 Monoprint 15” x 22”	The Sexuality of Quietness, 2026 Monoprint 15” x 22”
The Protest of Silence, 2026 Monoprint On Mulberry 15” x 22”	The Seasons, 2026 Monoprint On Mulberry 15” x 22”	The Fall of Snow, 2026 Monoprint On Mulberry 15” x 22”
What We Carry, What we keep Porcelain, Underglaze, Glaze 4’ x 6’	The Miagraine, 2026  Porcelain, Underglaze, Glaze 4.5” x 5” x 15”	Still Life of Vases, 2026 Porcelain, Underglaze, Glaze Various Sizes
Cracks in the Flag, 2026 Porcelain, Underglaze, Glaze 5” x 4.5” x 14.5"	The Change of Work, 2026 Porcelain, Underglaze, Glaze 3.75” x 3” x 6”	No Fcking Kings..., 2026 Porcelain, Underglaze, Glaze 4” x 5” x 12”
The Geometric of Politics, 2026 Porcelain, Underglaze, Glaze 4.5” x 4.5” x 11”	Stop the Madness, 2026 Porcelain, Underglaze, Glaze 5” x 5” x 15.5	Saturday Night Fever, 2026 Porcelain, Underglaze, Glaze 5” x 6” x 10.5”
We’re Tired of Your Prayers & Thoughts, 2026 Porcelain, Underglaze, Glaze 4" x 4" x 10.5"	Accept Defeat, 2026 Porcelain, Underglaze, Glaze 4.5” x 4” x 7”	Do Not Enter, 2026 Porcelain, Underglaze, Glaze 7.5” x 5” x 13”

Richard Rodriguez

Richard Rodriguez is currently pursuing an MFA in Printmaking at the University of Miami, his practice is grounded in an ongoing investigation of calligraphy as an expanded language, where text dissolves into gesture and form. Rooted in a sensibility that moves between memory and materiality, his work situates itself within a lineage that engages both abstraction and the diasporic condition.

Drawing on his Mexican Indigenous heritage, Rodriguez constructs a visual system in which calligraphy ceases to function solely as a linguistic sign and becomes a plastic structure. The oscillation between legibility and abstraction—at times recalling strategies associated with analytical cubism—introduces a productive tension between what can be read and what can only be perceived. Within this shift, the artist develops an intimate archive in which marks operate as carriers of experiences not fully translatable, establishing a bridge between cultural inheritance and contemporary context.

Selected Works

Perdido, 2026 Monoprint 12x16	Huella Roja, 2026 Monoprint 12x16	Gesto, 2026 Monoprint 18x24
Buscando Algo, 2026 Monoprint 18x24	Alfeñique Morado, 2026 Monoprint 18x24	Alfeñique Azul, 2026 Monoprint 18x24
Nopalito, 2026 Monoprint 16x20	El Hue Hue, 2026 Relief Linocut and Letterpress Image 6¼x10⅜, Frame 11x14	Sangre de Indio, 2026 Relief Linocut and Letterpress Image 11½x15, Frame 16x20
Venado, 2026 Relief Linocut and Letterpress Image 11 ½ x 15, Frame 16 x 20	Cuauhtli, 2026 Monoprint 36x50	Ritmo Verde, 2026 Monoprint 36x50
Sombras Verde, 2026 Monoprint 36x50	Marcas Verde #1, 2006 Monoprint 36x50	Marcas Verde #2, 2026 Monoprint 36x50
Marcas Verdes, 2026 Monoprint 36x50