New Works by Juliana Bukowitz, Summer 2025

Catalog Foreword

“If you’re not…speaking to what is happening in the moment you are not relevant…anyone who is making these kinds of films that isn’t speaking to young people today is not serving the community, the audience, and not serving history. I am a servant of history.” -Sacha Jenkins

In this summer catalog, we highlight urgent works by Brazilian-born artist Juliana Bukowitz, works that challenge us profoundly, that call into question the disintegration of our age, that speak to a time when the very maintenance of the body became politic, when artists met the moment at their most aggressive, in their most retaliatory state, or risked erasure.

Like the prescient words of the late Sacha Jenkins, this selection of works, largely complex ceramics and sculpture, wield armament in themselves. They commute us from the familiar Things They Carried of our daily battles, and give expression to this immediate period, this time where our hands themselves became the treasures. These pieces forge their own existence alongside the chainsaw-weilding, content-deluged zeitgeist of the day. They insist, press, and contort like the pygmy seahorse veterans of might makes right, earthen testimony to the trenches, tombs and reincarnations of our everyday soldier, our everyman.

At this moment, in the instancia cruxis of 2025, we must insist on the indespensable nature of those hands, of the works of our hands, on the freedom to encounter material or texture before meaning, or meaning before material as determined by that human nature, that fortune we still carry.

A posteriori we will remember what these works whispered to us as they reached into and past this moment and reminded us to carry ourselves boldly in our insistence, to sheath ourselves in those overlooked, non-leasable, non-clickbaitable shreds of materiality that made the next day humanly possible.

Gined López Ganem

Miami, FL, United States of America

May 27, 2025

Founder, GG Art Space

cc: Catalog

On view December 5th-12th during Miami Art Week 2024

“The clearest way into the universe is through a forest wilderness” – John Muir

Exhibition catalog

In this exhibition, we are juxtaposing the works of two artists, Juliana Bukowitz and Roberto Montes de Oca, who reach toward universality through completely disparate lenses, one earthbound and the other cosmic, and who lead us to reflect within and without.

And we are not asking for a passive viewing or a cursory nod.  Rather, we are asking the viewer to move through the earthy, elemental reminders and invocations of our planetary home in the work of Bukowitz and from these activations of memory and birthright, to project the mind’s eye toward the celestial perspective brought by Montes de Oca. 

Bukowitz, mixed media on canvas, 2024

This movement seeks to evoke a spectral interference in the viewer, as if infra-red operators signaled the viewer through to visible light arrays and culminated in gamma infused frameworks each prompting a new confrontation, asking for a new solution. And this confrontation is not AND/OR but seeks to find new operators within us, within that “star-stuff” contained within us that Carl Sagan so famously alluded to, and that was so inspirational to Montes de Oca in this series. 

Montes de Oca, acrylic on canvas, 2023

So this Miami Art Week, let’s claim a space a to have a space.  In such fragmented times, let’s turn the tatters of our attention toward these marks, each in turn a guide, the reassuring yet beguiling strata of Bukowitz’s compositions like the heavy tow of our own ionic boundaries, our vibratory framework on the verge of being hacked. And from this vulnerable, venerable bio-space, let’s borrow Montes de Oca’s imaginary Webb telescope to project into time, to reflect as our ancestors reflected.  Or maybe even to reflect with our ancestors, somewhere in the antiquity of now.

Gined López Ganem

GG Art Space and AnEyeDiary would like to thank the Historic Dorn Building for hosting this exhibition. This exhibition was on view during Miami Art Week in December of 2024. Please see catalog at this link.

Most sensible folks would probably delay the prospect of a stroll through the sticky summer swelter of downtown Coral Gables until at least 4pm, but Alberto and I admit to a kamikaze streak, and so we showed up to artist Hollye Davidson’s new studio in the heart of the city beautiful daringly close to the stroke of midday in early June.

The walls are an afterthought in this new space, and the expansive windows of the main studio endow it with a dramatic natural illumination that at once grounds and exhilarates the visitor. And this prepotency of light is as much a relief as the soothing presence of the artist herself. Her canvasses are presented on large easels across the main room as secondary actors, inviting the visitor to saunter and admire. In a contemporary art world obsessed with conceptual translation, with the need for continual intercessions, indulgences, rituals, and liturgies from experts that convey the intentions of artists to their audiences, Davidson appeals as directly to her viewer as the light will allow. In my mind, her work forms part of a necessary renewal and Reformation, the voice of an American artist unabashedly shaped by the traditions of Impressionism, Expressionism, and figuration who can “awaken” her viewer in a vernacular manner, in the vulgate language of intelligible forms.

Hollye Davidson is a Miami-based artist whose work has been featured in galleries and public works throughout the city and internationally. In portraiture, still life, and renderings of nature, the artist brings a steadfast concern with sublimating the emergence of form, with form as direct contact, with contact as distilled simplicity, with simplicity as nimble provocateur.

In a welcome departure from what art historian Fernando Castro Florez has called our era of “post-truth”, these distinctly feminine forms of insinuation and intimation, this minimalism of line and form, bring us to an easy sense of gratitude, to a harbor of resolute hope, to an unexpected glimmer of grace. Is there room for such optimism in the world of AI doomsayers and warlord eco-saboteurs? Can we trust our instincts with such a direct aesthetic appeal or will we hold fast to the crutches of art world babel fish? Let us know in the comments below. You can experience more work by the artist here.

Instagram: @hollyedavidsonart

See more works: HollyeDavidson.com