In an amazing display of works veritably earthed with their media, Roberts Projects exhibits a remarkable display of taste in the proper affirmation of what precedes and transcends man’s temporal power. For it is typical to be gridlocked in the labyrinth of civilized order, to lose sight in the conscious mind of the timeless. For it is there where humans begin, and where humans will forever return.

‘Worlds Makes Worlds’ 2025. Noah Schneiderman. Oil on sewn canvas and jute with fustic and roses. 24″ x 89″ (61 x 226.1 cm). Courtesy of the artist and Roberts Project. All Rights Reserved.

The choiceness of artist representation of such grounding is nonetheless affirmed by more than the earthen with Worlds make Worlds. Yes, with such a perfect medley of media and piecewise construction, Mr. Noah Schneiderman completes an idea which involves the earthen – with jute and fustic and roses as part of his artistic play. Do we have a theatrical performance, of a passage, if not cosmogenesis that unfolds before our lenses? With that appropriate exertion yet nonetheless patience in the unfolding of the visual, represented carefully with globalurs and an ethereal mysterious presence which permeates more than half the centerfold? An unraveling which requires a necessary duration which is elegantly pictured, and, due to the conscientious daring with such poignant abstraction, it is my affirmation of the best artwork of the group, and well worth a confident placement in a study or work area for pensive meditation, to canvas a stellar movement which grapples the eye at 24 in x 89 in. without perturbing the focused attention at-hand.

‘Ancient Good’, 2025. Aaron Glasson. Sand, oil, oil stick, natural pigment, beeswax, pumice, earth, pit-fired clay, brass copper, string and oak gall on canvas. 68″ x 48″ (127.7 cm x 121.9 cm). Courtesy of the artist and Roberts Projects. All Rights Reserved.

Next, in no way inspired per se by Jasper Johns mysteria, Ancient Good by Aaron Glasson stands a proud and arduous 68” x 48” to affirm the goodness of the Earthen world. It too is daring with its media – oak gall cryptically involved in the centripetal movement of the earthen tones which are to celebrate a higher power than the temporal set by mankind; along with the amalgam of sand, beeswax, pumice, &c. For those who affirm organic, and are proud of it; who can look repeatedly towards an idea of a greater order which humans are informed by; one which is effected by ancientness; what is lost in the distractions of the temporary worldliness of civil affairs, which dart thoughts from truer perceptions of being. A natural affirmation of life, yes; but with a particular focused consideration of an earthen balance weighing the mind’s impression of that goodness which is consummately ancient, compared to the risibly comparable eons of humans recording themselves. The Earth as intrinsically good has not been captured so exquisitely in my memory.

‘Evening Star II’, 2025. Wendy Red Star. Silver pilish frameless mirror, primary earth dry powder pigment and paper. 30″ x 50″ x 50″ (76.2 x 154.2 x 152.4 cm). Courtesy of the artist and Roberts Project LA. All Rights Reserved.

Wendy Red Star introduces an institution-worthy display of a playfulness with perception with Evening Star II. The recurrence is imposed upon the subject, with that cyclicality formed by the mirror’s impression of the choice-earthen powdery pigments used by the Crowe Nation for their burlaps, now integrated into Civilized Order to recognize that goodness which precedes it. To spark the impression of the sacred, so direly needed in a world of the mundane, the common, the disposable. I thoroughly hope for the tension of self-restraint is illuminated in the child, who dares to stand but must not, on that which can be thought of as sacred soil – admitted by a spiritual procession of renewal to an original life source: Earth.

‘Birth’, 2022. Foraged clay slip on gampi paper. 54″ x 38″ (137.2 x 96.5 cm) paper. 58 x 42 x 1.25″ framed ( 147.3 x 106.7 x 3.2 cm). Courtesy of the artist and Roberts Project LA. All Rights Reserved.

Koyoltzintli brings a series of works which involves an elaborate process of clay procurement, condensed into a transition of life-processes, abstractly represented before us, from Birth to Quiescent on large, 55” x 38” canvases, nakedly expressed without a glass frame, to possibly connect the subject to that primal nature which is blinded through the artificial lights and synthetic times of contemporaneity. A minimalism yet potency displayed, in the, dare I say reduction of the foraged clay to give new life, is laudable, and a secure portrayal of organic beauty for those seeking to achieve an expression of corporate objectives of sustainability. 

‘lapsos en tránsito’ (periods in transit), 2025. Soil from location 33.94323 N, 118.30128, ocean water, masa (corn dough), copper paint, limestone, charcoal, pine shavings, plant binder, distilled ocean water and copper sheet. 36″ x 16.25″ x 8″ (941. x 41.3 x 20.3 cm). Courtesy of the artist and Roberts Projects. All Rights Reserved.

Last but not least, Jackie Amézquita affirms more institutional-grade, yet also abode-friendly, timepieces with her earthenware and eclectic blend of media. A consistently stout 36”x16.5”x8” with that absence of academic formality in the earthenware, towards an enjoyment of a primitive forming to accentuate a return away from dogmatic refinery in mindpower exactitudes captures a sincerity, a purity, a delight, in the tangible palpability of a baked good. No wonder, then, there is masa, the Mesoamerican indigenous corn dough staple, that harkens back to a simpler age of human life on the planet.

For more information, please contact the gallery:

Roberts Projects

442 South La Brea Avenue
Los Angeles, California 90036
T +1 323.549.0223
info@robertsprojectsla.com