Colin Brant (b 1965) received the John Simon Guggenheim Memorial Fellowship in 2022. He has been awarded grants from the Pollock-Krasner Foundation, New York Foundation for the Arts, and a residency at Cité Internationale des Arts, Paris. Solo exhibitions include Europa (New York), Dutton Gallery (New York), Galleria Richter (Rome), Jeff Bailey Gallery (New York), Adam Baumgold Gallery (New York), and Beth Urdang Gallery (Boston). Group exhibitions include James Cohan Gallery (New York), Steven Zevitas Gallery (Boston), Lucien Terras (New York), Geoffrey Young Gallery (Great Barrington, MA), The Bennington Museum (Bennington, Vermont), The Berkshire Museum (Pittsfield, MA), and Platform Space (Brooklyn), among others. Brant received a BA, University of California at Santa Cruz; and an MA and MFA, University of Iowa. Brant lives and works in North Bennington, Vermont and Brooklyn, New York.

Adam Fowler (b 1979 Fairfax, Virginia) received his BFA from the Maryland Institute College of Art, Baltimore, in 2001. Fowler’s work has been exhibited in galleries and institutions throughout the US including the Museum of Arts and Design, NYC, Daum Museum of Contemporary Art, Sedalia, MO, the Weatherspoon Art Museum, Greensboro, NC, The Contemporary Museum, Honolulu, HI, Currier Art Museum, Manchester, NH, and at The Drawing Center, NYC among others. Fowler has been the recipient of numerous awards and grants including the New York Foundation for the Arts, Fellowship in Drawing; The Pollock-Krasner Foundation Grant, New York, NY; and the Young Artist Program Grant, DC Commission on the Arts and Humanities, Washington, DC. His work can be found in numerous private and corporate collections throughout the U.S. , and lives and works in New York.

Lauriston Avery (b 1968, Norwich, CT), lives and works in New York, having studied at the San Francisco Art Institute, he received a BFA from the Maryland Institute College of Art in 1990. Avery’s selected solo exhibitions include Outer Ones, Dutton, New York; Full Moon, Platform Project Space, Brooklyn, NY; Deaf Bats Blind Shepards, Wildpalms, Düsseldorf, Germany; and To be Continued, The Hogar Collection, Brooklyn, NY. Recent group exhibitions include Embers, Platform Project Space, Brooklyn, NY; Magical Operations, Wildpalms, Düsseldorf, Germany; Zip City, Left Field Gallery, Los Osos, CA; Walk the Line, Platform Project Space, Brooklyn, NY; Big Ringer, Andrew Edlin Gallery, NY; Come a Little Closer, DC Moore, NY; and After the End, NADA. Avery's work has been featured at the Bridge Art Fair, Miami; NEXT Art Fair, Chicago; Untitled Art Fair, Miami; and NADA, New York.

Avery's new sculptures are earthy anthropomorphic forms conjured and excavated out of ritualistic sand mounds, concrete, debris and oxidized metals. Projections of inner bio-luminosity, hollow moons, telepathic shadows, brain waves and vibratory nerve clusters of acute awareness weave through work with childlike innocence and fascinating connectedness. The physicality of the works evoke the mysterious forces of subterranean worlds where forms magically bind into beings and dissolve into ghostly personages. Playing on the duality of the ethereal and the bodily they express the bewildering mythology of our inner worlds against a fantastical view of nature, where a vital unseen cosmology reveals itself as an expressive consciousness that mirrors our own.

Khaled Chamma (b 1992, Melbourne, Australia) is a Syrian Australian artist based in Naarm (Melbourne), Australia. Made with color pencil on paper over the last year, Chamma's drawings embody an ever-changing meeting of natural and psychological worlds, weaving multilayered imagery and exploring ideas that are as autobiographical as they are universal. Khaled's work embodies his admiration for animals and nature with a need to express his lived experiences of language, immigration, grief, and otherness. Through a building of layers, a containment of gestures, explorations of organic shapes and psychedelic patterns, and attempts at capturing motion, interaction, and elaborate scenery – the works heave and swell with visual information and become lasting embodiments of time and emotion.

Informed by ten of his teenage years living in Syria, Khaled’s art practice engages with processes that mirror the feelings of constraint, pressure and fear felt living under a totalitarian regime. By looking to examples of grace and brutality in nature in his subject matter, he is able to anthropomorphise these feelings and contextualizes the many nuances of human trauma within the natural order of the world.

Chamma is self-taught in the realm of drawing and earnt a Diploma of Visual Art from RMIT in Printmaking (2013); and a Bachelor of Fine Art from RMIT in Expanded Studio Practice (2020). In 2022, and his drawing “Summer Daydream” won Brunswick Street Gallery's 'Fifty Squared' art prize. Chamma's first solo exhibition entitled 'Ootheca' opened at Brunswick Street Gallery (2023), and six of his drawings were exhibited in West Space’s 30th anniversary group show alongside artists such as Susan Te Kahurangi King entitled 'Unison' (2023), curated by Sebastian Henry-Jones. Chamma's debut solo exhibition in New York entitled 'Morphosis' was held in 2023 and three drawings in 'The Enclave', curated by Dutton at Darren Knight Gallery in Sydney were recently acquired by The Art Gallery of New South Wales, Australia.

Selby Warren (1887–1979) b. Lambing Flat (Young), NSW, Australia. Warren was a bushman and larrikin who after traveling through Australia settled in Trunkey Creek, New South Wales, leaving home young to be a sheep shearer, stockman, bullocky, miner, fencer, rabbit trapper, and gold panner in the Abercrombie River before leading a life of manual labor.

Taking up painting when he retired in 1963 at 74 years old to record his lived experiences, Warren explained that he had wanted to paint all of his life. Using materials with ingenuity and anything he could lay his hands on — he added mud, sand, grass clippings, and mica for effect — using brushes he made with his and his wife’s hair, and repurposed furniture and building materials that he cut into constructions for frames.

Near illiterate, Warren wanted to visually chronicle his recollections in his pictures surging with a magnitude of memory and feeling and did so with an astonishingly spare modern voice. He captured subjects from his time as an itinerant laborer to stories of rural folklore and political figures, iconic Australian scenes and landmarks, wildlife, and portraits of authors of poems and ballads he liked to recall with an innately incisive, full expression, using experimental wit and abstract intuitive form.

Warren was discovered at the age of 85 by university professor Garth Dixon who was passing through Trunkey Creek after a fishing trip. Dixon was having a drink at a local pub and spied the corner of a painting behind a pile of bottles. After asking about the painting, the publican told Dixon “It was done by a silly old bugger who lives halfway up the hill.” At once Dixon told Rudy Komon — the legendary dealer who singularly defined the modern era in Australian art — who quickly visited the 84 year old artist and arranged to have a show held at his Sydney gallery in February 1972.

Over a period of three years including shows with Komon in Sydney, Brisbane, and Melbourne, Warren’s paintings received a great deal of attention and fanfare but Warren was soon forgotten. Komon remarked Warren was "one of Australia's greatest art finds"... "one of a half a dozen like him in the world." This presentation at Independent 20th Century includes untouched and significant paintings directly from Ray Hughes Estate which held the historical collection of Rudy Komon Gallery, Woollahra.

“His paintings reflect a “time past”, when country life was basic and tough. Warren painted simply because he wanted to and, until he gained recognition towards the end of his life, he never attempted to sell a picture”
–Roger Shelley, ‘Back to the Bush; Selby Warren, a rare self-taught artist from the outback of Australia’ in Raw Vision Magazine, Autumn 2015.

“Selby Warren, too, had a whole other life - as a bluff, no-nonsense bushman - but he was no amateur artist. The need to represent his world in drawing and paint occupied the centre of his worldview, and he clung to this tenaciously, as often as not in the face of joshing and ridicule from his mates and other locals who might have discovered he made pictures.”–Colin Rhodes, ‘Trunkey Creek Insider: Outsider Art’ from Selby Warren: Trunkey’s Tribe of One, Bathurst Regional Art Gallery, Australia, 2014.

Dutton, New York

sonia@soniadutton.com

917 214 1838

Loading... Hudson, New York July 17-21, 2025COLIN BRANT / LAURISTON AVERY / KHALED CHAMMA / ADAM FOWLER / SELBY WARREN

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Hudson, New York
July 17-21, 2025

COLIN BRANT / LAURISTON AVERY / KHALED CHAMMA
/ ADAM FOWLER / SELBY WARREN