Curated by Jasmine Wahi, VAMPIRE::MOTHER is an exhibition realised by Vortic Curated and Anat Ebgi. The latest iteration in Vortic Curated’s hybrid exhibition series, VAMPIRE::MOTHER will open at Anat Ebgi’s Wilshire Boulevard gallery in Los Angeles from 27 January to 2 March 2024, with a virtual extension launching to coincide with Frieze L.A. on 28 February 2024. The exhibition presents work by 15 contemporary artists responding to and pulling apart the imposed and oversimplified stereotypes affiliated with women/femmes. As explained by the curator, Jasmine Wahi: VAMPIRE::MOTHER attempts to disrupt linear and binary structures and impositions by presenting the idea that multiple realities (and selves) can exist simultaneously … and asks artists to consider the reductive nature of these roles and subvert them. It invites them to consider how we use our 'wiles' as a means of subterfuge. The seductress can be a kitten, soft and cuddly; or she may be a vampire. It is a show that embraces the mainstream tendency to navigate the world through a rigid binary framework. But truly, it subverts this lens, and dismantles binary structures, mushing them into a gloop of indefinable and intersectional identities”. In curating the exhibition, Wahi guided the artists through a process using a set of evocations, including words, terms, feelings, and quotes. These elements were chosen to provide context and conjure visceral sensations associated with the broader themes of the show. Departing from the conventional approach, the curator collaborated closely with each artist, encouraging them to create new works inspired by their instinctive responses to these phrases and prompts. ____ Anat Ebgi is pleased to announce The End of the Night, a solo exhibition of new work by New York based artist Karyn Lyons on view at 6150 Wilshire Blvd, January 27 - March 2. This is the artist’s first solo exhibition with the gallery and in Los Angeles. An opening reception will take place on Saturday, January 27 from 5 - 7pm. With a fondness for the exciting and disturbing emotional currents that charge adolescence, The End of the Night acts as a remembrance, or even a goodbye to those unbridled moments of girlhood. Smoldering and pining, Lyons weaves fantasy with the autobiographical to compose imaginative scenes of those complicated, not-yet-tamed between-times of exploration and discovery. These intimately-scaled paintings, oils on linen, interspersed with works on vellum, draw viewers into an emotionally resonant and personally moving world. In The Dominion of Night, a girl is seen standing in a glowing house at nighttime, above this scene is a striking daytime sky—a surprising and extraordinary collision and homage to surrealist René Magritte. Across the works, her subjects are discovering their own dominion over body and mind, caught mid-embrace, sneaking a cigarette, or sitting in her bedroom longing for love, new (adult) possibilities are out there. Not entirely alone, Lyons’ subjects are occasionally accompanied by a watchful cat, itself a symbol of mischievousness, femininity, and assurance.