Contact Sport, Organized by Rachel Eulena Williams, May 29 – Jul 11, 2025
Current: 61 Lispenard St
Installation view Contact Sport, CANADA, 2025

Installation view Contact Sport, CANADA, 2025

Installation view Contact Sport, CANADA, 2025

Installation view Contact Sport, CANADA, 2025

Installation view Contact Sport, CANADA, 2025

Installation view Contact Sport, CANADA, 2025

Installation view Contact Sport, CANADA, 2025

Installation view Contact Sport, CANADA, 2025

Artworks

Pap Souleye Fall,
Digest Digest Buffer,
2025,
13 × 9 inches (33.02 × 22.86 cm)
Cardboard pulp, wood chips, beads, compact discs

Rachel Eulena Williams,
Delicate Forest Wilderness,
2025,
57 ½ × 44 × 4 inches (146.05 × 111.76 × 10.16 cm)
Acrylic, cotton rope, wood, and hammock on wood panels

Monsieur Zohore,
Gross Play Doctors,
1875–2024,
36 × 24 inches (91.44 × 60.96 cm)
Mixed media on canvas

Pap Souleye Fall,
Dead Pixel and the Data Collector,
2025,
Dimension variable
Wood, ink, hardware

Kemar Keanu Wynter,
Stepdown Two (Baked Rigatoni),
2024,
80 × 56 inches (203.20 × 142.24 cm)
Acrylic on Evolon

Meg Lipke,
Variation Transmission,
2025,
34 × 32 × 2 ½ inches (86.36 × 81.28 × 6.35 cm)
Acrylic, fabric dye, glass beads, archival matte varnish with UV protection on muslin with fiber and thread

Erika Ranee,
The Natural,
2025,
72 × 72 inches (182.88 × 182.88 cm)
Acrylic, shellac, spray paint, artist's hair, paper collage on canvas

Elzie Williams,
Untitled (Green One Prototype,
2024,
29 ½ × 22 ½ × 12 inches (74.93 × 57.15 × 30.48 cm)
Collaged magazines of green swatches with simultaneously multicultural smiles on the reverse, various papers, plastics, temporary tattoos, thread, tapes, armature wire

Devin N. Morris,
Spitting rain between the impossible distance of sea and sky,
2025,
88 ½ × 30 ¼ × 9 ¾ inches (224.79 × 76.84 × 24.77 cm)
Color pencil, nails, oil, acrylic, staples, screws, oil pastel, collage, nuts and bolts, oil stick, watercolor, spray paint, lottery tickets, polycrylic, hanger hook, metal scraps, paint roller extension, mop pole, broom poles, picket fence, umbrella handle, walking cane, resin, plywood, carpentry, wood stain, pigment powder, ascension, curtain rod, measuring tape on wood panel

Pap Souleye Fall,
Dead Pixel and the Data Collector,
2025,
Dimensions variable
Wood, ink, hardware

Pap Souleye Fall,
Dead Pixel and the Data Collector,
2025,
Dimensions variable
Wood, ink, hardware

Pap Souleye Fall,
Dead Pixel and the Data Collector,
2025,
Dimensions variable
Wood, ink, hardware

Walter Price,
Advance the colors,
2024,
16 × 20 inches (40.64 × 50.80 cm)
Acrylic, gesso, chrome pen on wood

Walter Price,
Night light,
2024,
18 × 24 inches (45.72 × 60.96 cm)
Acrylic, gesso, chrome pen on wood

Nickola Pottinger,
Genkle Jesus meek and mild,
2023,
16 × 16 × 12 inches (40.64 × 40.64 × 30.48 cm)
Wood, paper pulp, pigment, oil pastel, gold leaf and hair clips

Pap Souleye Fall,
Dead Pixel and the Data Collector,
2025,
Dimension variable
Wood, ink, hardware

Pap Souleye Fall,
Dead Pixel and the Data Collector,
2025,
Dimensions variable
Wood, ink, hardware

Monsieur Zohore,
Primitivism,
2015–2025,
Dimensions variable
Bird of Paradise in Windex
Press Release
Featuring Pap Souleye Fall, Meg Lipke, Devin N. Morris, Nickola Pottinger, Walter Price, Erika Ranee, Elzie Williams, Rachel Eulena Williams, Kemar Keanu Wynter, and Monsieur Zohore.
CANADA is excited to present Contact Sport, a group exhibition organized by Rachel Eulena Williams at the gallery’s 61 Lispenard Street space. The show brings together a group of ten painters and sculptors whose work has a visual connection to Williams’s practice. The work is full of color and embodies a strong physicality that comes from highly intuitive and engaged making processes. Like Williams, many of the artists treat the gathering of materials as an important part of the process, adding everyday things like QR codes, magazine images or using store bought mops to apply paint into their work. The eclectic list of materials is a way of recontextualizing and reimagining quotidian visual culture.
Often the work has a sense of pushing out, expanding into bodily space. Sculpture and bas relief paintings seem to literalize and inhabit form. Paint takes on a physically active role, becoming, like the title suggests, something beyond merely descriptive–alive and tactile. While remaining rooted and direct, the work has an uncanny or dreamlike quality. These artists guide us through imagery that is warm and familiar while remaining beyond the boundaries of the known world.