Make Room is thrilled to announce Fawn Rogers’ Everything is sacred, Nothing is Precious; Everything is Precious, Nothing is Sacred at [ROOM], a project space at the gallery. Her exhibition aligns with a mantra of the Dali Lama: In order to lead a meaningful life, you need to cherish others, pay attention to human values, and try to cultivate inner peace.” Yet, as a civilization, we are seemingly still waiting for an era of harmony and enlightenment to arrive. Rogers captures this essence by taking the viewer on an adventure —from copulating insects to humans at their most vulnerable and thirsty. As meditative as they are exploitative, the works in the show allow the viewer to voyeuristically peek through the blinds for an intimate look at oneself. The paintings ultimately represent a decadent display of pulp humor through sexually charged imagery and elements of the natural world. Intermingled with climactic moments, the works on display creates an end-of-the-world party in the space of a white box gallery surrounding a grassy field, atop of which is a berm with a fur-covered chess board. While playing with this R.I.P. Chess set, conquering an opponent’s pieces—cast bronze chessmen modeled after recently extinct animals—we as visitors are watched by paintings of glaring endangered birds. Are they judging us? Other paintings depict breasts, trees growing through discarded cars, and celebratory cakes featuring messages such as “DILF” or “congrats on kicking opioids.” Snarling lips with grillz, an erotic dancer next to a portrait of the Dali Lama and a Chernobyl flower, monkeys smoking cigarettes, and a sign that says “Infinity 99 cents” abound. Images are collaged together to form faces: part human, part animal, part ashtray. Mixed into the display throughout the 100 paintings are Reality Bubble Pearls, reminding us we can pop our bubbles of reality and stand in another’s to find some empathy. We can reflect on how, like the Dali Lama observes, the present holds no successor. Or, maybe, we can just knock our enemies to the ground on a chessboard made of fur, seated atop a grassy knoll, riding out the present era until realizing our own ass is grass. Fawn Rogers (b. 1974, Portland, USA) is a Los Angeles-based contemporary artist. Through painting, photography, video, and sculptural installation, Rogers addresses the idea of power as the currency of human nature and the conflict with the natural world. Rogers selected solo exhibitions include, “Your Perfect Plastic Heart”, Wilding Cran Gallery, Los Angeles, CA, 2022; “Violent Garden”, The Lodge, Hollywood, CA, 2017; “SUBJECT”, Museum of Art and History, Lancaster, CA, 2016; “COURT”, Select Art Fair, New York, NY, 2015; “The Spirits That Lend Strength Are Visible”, Site-specific installation, Embraer Executive Jets private showroom Melbourne, FL, 2015; “Visible Light & I Love You And That Makes Me God”, HATCH, Los Angeles, CA, 2014, “Visible Light”, Dawit Yohannes/World Bank, Juba, SOUTH SUDAN, 2013. Selected group exhibitions include, “Boil Toil & Trouble”, Art In Common, Chicago, IL, 2023; “Boil Toil & Trouble”, Art In Common, Los Angeles, CA, 2023; “My Condolences”, M+B Gallery, Los Angeles, CA, 2023; “Boil Toil & Trouble”, Art In Common, Miami, FL, 2022; “You Me Me You”,Nicodim Gallery, Los Angeles, CA, 2022; “Holy Water”, Eric Firestone Gallery, East Hampton, NY, 2022; “Don’t Give Me Flowers”, Praz-Delvallade, Los Angeles, CA, 2022; “The Tenth Muse”, Case Gallery, Los Angeles, CA, 2022; “Artists & Allies IV”, Signs and Symbols, New York, NY, 2021; “Alaina Simone”, Untitled Art Fair, Miami, FL, 2021; “Everything Has Its Place”, Sevil Dolmaci, Istanbul, TURKEY, 2021; “The Knockturnal”, Tethys Art, Hampton's, NY, 2021. - Taking the title of Richard Matheson’s namesake novel, the exhibition “What Dreams May Come” brings together the works of Erica Mahinay, Yeonsu Ju, and Saba Farhoudnia to explore transition, energy exchange, and the fluidity of existence. Matheson’s novel crafts a vision of the afterlife that is deeply subjective and shaped by the individual’s mental and emotional state. Similarly, this exhibition navigates the transformative power of memory, dreams, and the transcendental nature of one’s experiences. The artists ultimately seek to understand themselves within the ever changing world through the action of making and offering. Similarly, Saba Farhoudnia's paintings explore the concept of fluidity through the lens of personal and collective memory. As an artist navigating multiple cultural identities, she creates works that reflect the complexities of diaspora and the fluid boundaries of cultural belonging. Farhoudnia visualizes unfamiliar landscapes in her artistic practice, highlighting equality and our vulnerability to natural forces. By merging drawing and painting, she utilizes the textures of brushstrokes, geometric forms, and gestural marks. Her compositions blend figuration, grotesque elements, and dark comedy—gradually transitioning into abstract, garden-like spaces influenced by Persian miniatures. Erica Mahinay navigates the boundary between painting and sculpture, crafting gestural works that engage with the human body while rooted in abstraction. Mahinay applies paint with brushes and hands-on canvas, creating both opaque and translucent areas. She employs dyeing techniques to saturate the fabric with color, drawing attention to the creation process. The works in the show capture the moments of change, inviting viewers to contemplate the fluidity of the self and the constant evolution of one’s physical and emotional states. Yeonsu Ju, born in South Korea and now residing in London, draws influence from the spontaneous and forceful technique of Francis Bacon. She describes her paintings as "an imaginary space where you can meet lost loves." Often, her works depict social gatherings where characters are rendered with a few suggestive brushstrokes, creating dream-like and colorful scenes that serve as idealized versions of events from an unknown era. At the border of figuration and abstraction, Ju provides an intense experience with a startling economy of means. Her intermeshing blocks of color dissolve into each other, while human figures, characterized by thin black lines, evoke traditional Asian art forms. In a world where boundaries are constantly being redrawn and redefined, this exhibition invites the viewers to contemplate adaptability and resilience.