Irreversibility of Eternity
Nov 20-27 2025
We see three artists approaching the unapproachable. They have departed from three points: the self, the wild, and the wasteland. As a combined expedition, these places emerge in the work of each individual and together form a voice that proves emergent beauty is available at all times and in all places. All three examine growth and abundance. Through Hill’s intensely focused vision of life in the margins of built environments, we see moments of quiet—the pacific and directionally locked face of a driver, a merging of person and tool. There is the quiet ascent of the coyote. We imagine ourselves as the mother wolf in Cormac Mccarthy’s The Crossing: “Where she ran the cries of the coyotes clapped shut as if a door had closed upon them and all was fear and marvel.” Seen through the lens of decayed walls, the meaning of home long since stripped by decay and use, we feel that fear and that marvel.
Still, there is peace. Edwards’ practiced hand treats material as the quiet companion we carry on every walk. We understand the object, but the mystery of that silence is pushed forward until we are asked to contend with it on a personal basis. The quilted Hex pattern sits above, the Polaris. Barn quilts speak loudly, yet Edwards allows us only subtle variations in tone, a quilt for the night walkers. We understand there is something of the dark forest present here—we are outside the barn, but still warmed.
In all places we are ourselves, a living document of experience, memory, and contact. Enver’s work draws us close, asking us to process the self as a collection of elements and icons. Treated with reverence, the ephemera becomes the being. Each moment is written using a language unique to the person speaking it, yet through this archival process, we witness translation and understanding. The arc of hair and the glow of fat speak softly but clearly: the hidden is as critical as the visible.
Nov 20-27 2025
We see three artists approaching the unapproachable. They have departed from three points: the self, the wild, and the wasteland. As a combined expedition, these places emerge in the work of each individual and together form a voice that proves emergent beauty is available at all times and in all places. All three examine growth and abundance. Through Hill’s intensely focused vision of life in the margins of built environments, we see moments of quiet—the pacific and directionally locked face of a driver, a merging of person and tool. There is the quiet ascent of the coyote. We imagine ourselves as the mother wolf in Cormac Mccarthy’s The Crossing: “Where she ran the cries of the coyotes clapped shut as if a door had closed upon them and all was fear and marvel.” Seen through the lens of decayed walls, the meaning of home long since stripped by decay and use, we feel that fear and that marvel.
Still, there is peace. Edwards’ practiced hand treats material as the quiet companion we carry on every walk. We understand the object, but the mystery of that silence is pushed forward until we are asked to contend with it on a personal basis. The quilted Hex pattern sits above, the Polaris. Barn quilts speak loudly, yet Edwards allows us only subtle variations in tone, a quilt for the night walkers. We understand there is something of the dark forest present here—we are outside the barn, but still warmed.
In all places we are ourselves, a living document of experience, memory, and contact. Enver’s work draws us close, asking us to process the self as a collection of elements and icons. Treated with reverence, the ephemera becomes the being. Each moment is written using a language unique to the person speaking it, yet through this archival process, we witness translation and understanding. The arc of hair and the glow of fat speak softly but clearly: the hidden is as critical as the visible.
Lorel Hill
Lorel Hill is a sculptor and BFA graduate of Mason Gross School of the Arts at Rutgers University.
He completed a Fellowship at Mildred’s Lane Artist Residency and was recently accepted as an artist
in residence in the 2026 program of GlogauAIR in Berlin, Germany.
Yumna Enver
Yumna Enver (she/her/hers) is an American-Pakistani artist based in New Brunswick, New
Jersey. Her work pulls from sculpture, print, and drawing to explore her body as a site of active
memory. Most recently, she received a BFA from Mason Gross School of the Arts
Devin Edwards
Devin Edwards (They/Them) is a Charlottesville-based artist originally from northern New Jer-
sey. They hold their BFA from Mason Gross School of the Arts. Working between printmaking,
woodworking, ceramics, painting, and drawing methods. They make sculptural collages referencing
ephemeral memories and craft traditions, creating a space where domestic spaces and the natural
world come crashing in on each other.
Lorel Hill is a sculptor and BFA graduate of Mason Gross School of the Arts at Rutgers University.
He completed a Fellowship at Mildred’s Lane Artist Residency and was recently accepted as an artist
in residence in the 2026 program of GlogauAIR in Berlin, Germany.
Yumna Enver
Yumna Enver (she/her/hers) is an American-Pakistani artist based in New Brunswick, New
Jersey. Her work pulls from sculpture, print, and drawing to explore her body as a site of active
memory. Most recently, she received a BFA from Mason Gross School of the Arts
Devin Edwards
Devin Edwards (They/Them) is a Charlottesville-based artist originally from northern New Jer-
sey. They hold their BFA from Mason Gross School of the Arts. Working between printmaking,
woodworking, ceramics, painting, and drawing methods. They make sculptural collages referencing
ephemeral memories and craft traditions, creating a space where domestic spaces and the natural
world come crashing in on each other.
Fixes
Nov 7-14 2025
Nov 7-14 2025
The Sharing Group is a loose collective formed in 2025, focusing on non-conventional spaces and a reciprocal approach to exhibition and creation. Created under the guidance of Cheon pyo Lee, they have shown throughout New Jersey, culminating in a group show at the Re Institute in upstate New York.
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A field, a plane, a stairwell, a basement, a church, a bridge, a barn.
A hole in the wall. An unmarked door. A room for the taking.
The Sharing Group is a deliberately loose collective that has shown in various configurations—as objects bouncing between concrete and sky, as an intimately curated, underground basement show; as a quiet radiance in a church activities hall; as resonant bodies beneath a bridge; as sprawling, unfurling, branching beings that bridged inside and outside at the Re-Institute in Millerton, New York.
The Sharing Group reunites, expanded and expanding, in the newly formed Nuisance Gallery in New Brunswick, New Jersey. Both The Sharing Group and Nuisance exploit lapses in attention, uninforced rules, patchworked surveillance, vacant space, and dead air to find when and where making artistic work is possible. The Sharing Group’s newest exhibition is in, perhaps, its most controlled space yet, but shows where its artists have been and where they’re going. They’re just passing through, trailing in mud from the world.
Oct 23-31 2025
In Lodge, Jules Gårder, and Jen Chai Shear have created a system that forces recognition and navigation, a direct physical intervention in what is typically afforded to the viewer, collector, curator, or guest: the center. During the later stages of preparation for this show, in a conversation, we sought a title that would complement a collaboration between numerous ideas and elements. The word “lodge” was proposed. I initially imagined something lodged, embedded, or intruding, perhaps a splinter. Marginalia, the decorative, whimsical or illuminating elements on the edges of texts, were highlighted as a source of energy this show would draw from. In fact, we were talking about the industrious and noble animal, the beaver, and the homes they build on the edges (margins) of ponds they have created.
They are a strange creature, creative but bound by neurosis. They produce their dams for one reason: the sound of water is impermissible to them. It must be stilled. There doesn’t seem to be a better metaphor for an artist than that. A gallery, any venue filled with any creative thing, is just that: an unobstructed channel through which a person can flow in and out.
In Lodge, they have been dammed, pooled, forced to circulate, contained and divided by structure and multitude. This space, in which this is the inaugural show, is Nuisance, the adjective, and later the name given to the cat I grew up with. He was an interloper, with goals and objectives opaque to us, but clear to him. Despite beavers being widely viewed as something along those lines, whose dams must be defeated with dynamite, their ponds are generative, creating the density and stillness in which life thrives. Through collection, the many become monolithic, capable of altering the landscape. Their work is recognized, and they feature in legends, artwork, and iconography. We have bestowed upon them the honour of complexity. In Lodge, you are asked to navigate complexity and pause in the still moments that individual moments create, to be both the marginalia and the page at the same time.
Jules Gårder
Jules Gårder is an artist and educator born in Sweden, raised in Maine and currently living and working in New Jersey. They work across sculpture, performance, video and collaboration. Ceramics is the material they engage with the most. They are indebted to the patterns of demise and reconstruction that are prompted by loss and posthumously collaborate with their mother who died 24 years, 301 days, 15 hours, 53 minutes ago at the time of this writing. Recent work employs mythological and architectural histories to engage with unresolvable relational realities of sexuality and power. They received their BA from UCLA in art, are a current MFA candidate at Rutgers and have shown their work nationally.
Jen Chai Shear
Jennifer Chai Shear (b. 1987 in Taipei, Taiwan) is an interdisciplinary artist whose work explores the realm of memory, desire, fantasy, and fear. She has recently shown at Studio Route 29 (Frenchtown, NJ), Kunsthalle Zürich (Zürich, Switzerland), Soft Life (London, UK), and Los Angeles Contemporary Archives (Los Angeles, CA).