Reform is pleased to present let the grass grow, a series of textile collages by Nathalie Basoski.

The solo exhibition is a study on the persistent human impulse to control memory, and the sentiment that our somewhat failed attempts leave us with. Drawing on the lineage of predominantly female quilt-makers, artists whose work has historically been diminished as craft rather than art, Basoski reconfigures the mundane into something at once fantastical and stubbornly human. Used denim, canvas, and linen are layered with photographs printed directly onto fabric, each image tightly cropped and re-contextualized, stitched back together into something that feels less like documentation and more like the act of remembering itself.

about the artistNathalie Basoski (b. 1995) is a Dutch-Macedonian photographer and visual artist based in Brooklyn, New York. Her practice moves between photography, textile, and mixed media; materials she marshals into retrospective visual narratives about displacement, assimilation, and the unreliable residue of memory. Basoski received her BFA from Pratt Institute in 2018. Her work has been exhibited internationally, including at the Museum of Contemporary Art, Skopje and across New York at Black Brick projects, Anderson Contemporary, Amos Eno Gallery, and Eyes On Art. In 2024 she was awarded a residency with the Peter Bullough Foundation and was included in 'Transformative Craft' at the Susquehanna Art Museum in Harrisburg, PA. Basoski currently has pieces on view at Fugue Gallery and Tempest Gallery in New York.

Reform is pleased to present the work of visual artists archil pichkhadze and dionisio cortes. Producing from diametrically opposite sides; realism and abstraction, their work coincides in the construction of space.

In his most recent work, pichkhadze brought his implied narratives much closer to the surface. These images attempt to balance the visual and emotional complexities found at the borders of observational realism, fading memories and lost dreams. Pichkhadze is very interested in further pursuing these ideas, while creating enigmatic paintings with real presence.

Cortes's work extracts the experience of being present in a particular moment in time and space by reorganizing imagery, searching for potential abstractions and the possibility of architecture. Where space is dynamic and stable; emerging and receding, unpredictable… His creative practice lies in an area between the incidental and the intentional. Cortes' work is formally intuitive, however its organization is calculated by building up planes within a visible/non-visible grid.

It could be argued that in both bodies of work, the result is a balancing act; the elements support and play off of each other. The organized pictorial spaces aim to hold the viewer's gaze, allowing the viewer to enter and wander within the imagery and to make their own personal connections and discoveries.

Reform's inaugural exhibition presented the work of Leticia Ortega. The exhibition brought together two distinct bodies of work from the artist's practice. The first consists of a series of abstract color compositions, compositions whose inspiration is drawn from arid plants. The other body of work on view is more recent in date; in it, flowers, plants and figural elements are juxtaposed with one another, inhabiting the abstract spaces of the compositions.