Neue Welt

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On view:

Antonio Darden: EYES LIKE FIRE
May 2nd – June 1st, 2025

J. Alex Schechter: Node for “Circle of Protection (White)”
March 2nd, 2025 – August 30th, 2025

Kaleena Stasiak: Windsocks
March 1st – March 23rd, 2025

Kevin Kao: Caryatid XL II
September 7th, 2024 through June 1st, 2025

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Antonio Darden: EYES LIKE FIRE
May 2nd – June 1st, 2025

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Kaleena Stasiak: Windsocks
March 1st – March 23rd, 2025

J. Alex Schechter: Node for “Circle of Protection (White)”
March 2nd, 2025 through August 30th, 2025

Kevin Kao: Caryatid XL II
September 7th, 2024 through June 1st, 2025

Neue Welt is pleased to present Caryatid XL II by Greenville, SC artist Kevin Kao, in its new offsite location in rural Williamson County, TN.

This work is part of a series, Caryatids, which started as an exploration of the hair forms on seemingly genderless faces. Like the Ancient Greek Caryatid porch adorning the Erechtheion on the Acropolis, the work positions the figure as a conjecture of structure and space. In this iteration, the figure beckons as pillar and vessel, supporting and holding inferences of the monumental. Similar to the other work Kao creates, the ideal is replaced with an alternative – an Other.

On view at our offiste location in rural Williamson County, TN. To schedule a time view this work, email info@neuewelt.xyz.

Caroline Hatfield: Epigraph
April 5th – April 27th, 2025

J. Alex Schechter and Sean M. Starowitz: Terra Magia
March 1st – March 30th, 2025

Berkley Pit (Through A Mirror Darkly), 32” x 34“ X 5”, 2025

Berkley Pit (Through A Mirror Darkly), 32” x 34“ X 5”, 2025

Lauren Taylor: How deep is down? (side B)
February 1st — February 23rd, 2025

Neue Welt is pleased to present How deep is down?, an exploration of loss, grief, and the things we leave behind, by Nashville-based artist Lauren Taylor.

How is the passage of time measured in making? Can wholeness be found in the void of absence? Taylor continues her practice of manipulating found and collected imagery, clothing, and miscellaneous objects found in her home, studio, and garden. After the recent passing of her father, Taylor moves towards her grief and explores how it has affected her practice and ability to make work.

The show is a homecoming for Taylor, who previously showed in the space when mild climate occupied it in 2017. The show will be exhibited in two parts—a “double feature creature”—across January and February openings.

Lauren Taylor: How deep is down? (side A)
January 4th – January 29, 2025

Luke Stettner and Skyler Brickley: Filling Airways Patriot Machine
November 2nd – December 15th, 2024

Kevin Kao: Caryatid XL II
September 7th - December 31st, 2024

Past exhibitions:

Scott Carter: Shiftless
September 7th - October 18th, 2024

Neue Welt is pleased to present Shiftless by Memphis, TN artist Scott Carter in the gallery’s main space.

The work in this exhibition represents a new direction in my studio practice, one that is moving slowly towards introspection and explores the idiosyncrasies of what defines me as a maker. This recent series of beer bottle assemblages emerged from experimentation with materials that are byproducts of my creative process. These clear glass vessels, devoid of labels, have become meaningful artifacts, capturing specific moments through their arrangement and transformation.

By arranging and joining these empty bottles, I’ve come to view them as autonomous forms with meanings extending beyond their original use. They symbolize the passage of time through their accumulation, reflecting my experience with procrastination and uncertainty, and representing an effort to create something tangible from the depths of depression.

Beyond simply joining and stacking these bottles, I’ve started to incorporate functional electronics and electro-acoustic elements. The sound of compressed air passing through the bottles underscores their emptiness, transforming them into forms akin to lungs or bowels. This interplay of sound and structure emphasizes the keeping of time: consuming, stacking, and adorning represent time spent and past, while slow oscillations, clicks, and hissing of air symbolize the passage of time and its relationship with the present moment.

On view during Wedgewood-Houston First Saturdays and by appointment. To schedule a time view this work, email info@neuewelt.xyz.

Chambers: Lindsey Kennedy and Katie Ford
July 6th - August 18th, 2024

Neue Welt is pleased to present Chambers, an interdisciplinary collaboration between artists Lindsey Kennedy and Katie Ford. Their new body of work joins photographic images with sculptural objects, as the artists draw upon patterns of repetition and mutation in natural structures. The included works make reference to geology, plant life, and the human body. They are experiments in translation—between object and image, between fractal forms, between makers—inviting instances of connection and distortion.

Lindsey Kennedy is a photographer whose practice examines the human-nature relationship in the Anthropocene and the psychological experience of climate doom. She holds a bachelor’s degree in political science from the University of Wisconsin and earned her MFA in studio art at the University of Georgia in 2024.

Katie Ford is an interdisciplinary artist considering the potential of instability through the lenses of digital culture and queer theory. She has exhibited nationally, and her work has been supported by residencies at the Icelandic Textile Center, the Women’s Studio Workshop, Elsewhere, and 100W Corsicana, among others. She holds a BFA in Printmaking and Drawing from Washington University in St. Louis and an MFA in Visual Art from the University of Georgia.

Austin Reavis: Red State
June 1st - June 26th, 2024

Untitled, oil paint, collage, plywood, arcylic paint, 18” x 13“; Untitled, automotive wrap over aluminum cake pan placed into an electric oven at 450° for 1 minute, 14" x 12", 2024; Untitled, work floor mat trim, aluminum cake pan, 2024

Untitled, fan blower, Tennessee ancestry publications, bookends, 16” x 10” x 13”, 2024

Untitled, propane tank, novelty mug, Gorilla tape, 22“ x 6” x 3“, 2024

Untitled, found metal objects heated with a blow torch and pressed into a foam work mat, 24” by 24” by 12”, 2024

Untitled, Manila folders, cannonball, brass bugle, book on Tennessee prisons, PVA glue, 30” x 12“ x 12” , 2024

Untitled, steel calipers, string, 12”x 8”x 1”, 2024

Untitled, wood glue, camo pants, work lights, smiley face keychain, 48” x 12”’ x 1’’, 2023; Untitled, wood glue, camo pants, work lights, rabbit‘s foot keychain, 48” x 12”’ x 1’’, 2023; Red Pill, vacuum formed plastic, flocking, plywood, veneer, aluminum frame, plexi, glass, casters, 72” x 42” x 24 , 2023

Untitled, wood glue, camo pants, work lights, rabbit‘s foot keychain, 48” x 12”’ x 1’’, 2023

Neue Welt is pleased to present Red State, a solo exhibition by Sewanee, Tennessee-based artist Austin Reavis.

I feel compelled to dislodge the things in front of me and place them back into the world askew. This impulse comes from my dissatisfaction with most methods for witnessing what is in front of me, but also from feeling askew myself to the things that I see.

Something as immeasurable and fluid as a landscape is what I am currently interested in understanding, but oftentimes fail to comprehend through language or pictorial depiction. Instead, my most recent work is made of found objects collected from this landscape - my rural, southern hometown in Tennessee - via flea markets, grocery stores, Craigslist, yard sales, trashcans, dumpsters, or simply off the ground. These objects are like keyholes to see through; simple silhouettes opening out onto great panoramas of place and thingyness.

In combination with other disparate objects, I have been altering these found artifacts with minimal intervention; oftentimes only with glue - or even just gravity - holding the works together. In this way, I feel that the sculptures remain close to the world they come from, while reflecting a sideways logic of parallel otherness. I like to think of myself as a beachcomber; scavenging what washes up, rubbing those materials together, and starting fires that transcribe the inner mainland, while still signaling out from the beachfront.

Attention: Liza Clement, Allie Horick, and Ripley Whiteside
May 4th - 26th, 2024

Ripley Whiteside, Allie Horick, Liza Clement

Ripley Whiteside, Thirteen Things (Lemon), watercolor, 23" x 30" (in 28" x 35" frame), 2024

Ripley Whiteside, Thirteen Things (Lure), watercolor, 23" x 30" (in 28" x 35" frame), 2024

Allie Horick, Memorial for Felled Tree, wood (walnut), beeswax, oil, sawdust, dimensions variable, 2024

Liza Clement, Vernal Devotional (3/19/24), oil, wood, found objects, natural materials, 30” x 32“, 2024

Liza Clement, Vernal Devotional (3/19/24), oil, wood, found objects, natural materials, 30” x 32“, 2024

Liza Clement, Vernal Devotional (remnants), found natural materials, 2024

Allie Horick, Kneeler, wood (walnut), beeswax, oil, found photographs, dimensions variable, 2024

Allie Horick, Kneeler, wood (walnut), beeswax, oil, found photographs, dimensions variable, 2024

Neue Welt is pleased to present Attention, a group show by Liza Clement, Allie Horick, and Ripley Whiteside. Across watercolor, painting, and sculpture, the artists invite us to consider what we deem worthy of attention in our anthropocentric world. Each artist addresses this question from a different ecological point of view: what we leave behind, what we consider sacred, and what we mourn.

Brian R. Jobe: Pax
March 2nd – April 14th, 2024

Pax (Slight) brick, steel 24” x 20” x 20” 2024

Pax (De Rigueur) marble, concrete, steel 16" x 29.75" x 10.75" 2023

Pax (Mountain Tap) glazed brick, marble 17.5" x 22.25" x 14" 2021

Neue Welt is pleased to present the work of Knoxville, Tennessee based artist Brian R. Jobe. Jobe's studio practice is focused on sculpture and installation. His most recent work collages material into assemblages utilizing signifiers of natural and manufactured landscapes. The materials are stacked or held in compression, but without the use of hardware or adhesives. He desires a sort of inevitability to be felt within the viewer’s experience as they consider the material’s history and stream of consciousness associations. He is inspired by the act of construction and the space between reductive minimalism and human touch.