Diane Rosenstein Gallery announces Apparitions a solo exhibition of new paintings by Los Angeles-based multimedia artist Marty Schnapf. Since 2019, Schnapf has developed a unique visual language with deconstructed compositions anchored in the figure and the natural world. Created in his Chinatown studio, these mostly large-scale paintings foreground figures in elaborately articulated pastoral landscapes and vibrant architectural interiors. This is Marty Schnapf's third solo exhibition with our gallery. Schnapf’s paintings evoke sensual and psychological space: figures overlap, or a single figure assumes various irreconcilable positions. Apparitions continues an ongoing body of work of emotionally complex tableaus which explore the fluid interplay between the physical and psychological dimensions of human connection, isolation, and independence. This artist describes his painting practice as a way to communicate with people closely and enter into empathic relationships. “I think of apparitions as an externalization of the innumerable selves we carry within. In much of my work over the last few years I have considered the aspect of these selves that represent our past and future potential. Here, I'm more focused on the arrival of a being that is at once of us and at the same time wholly apart from anything we understand about ourselves.” Marty Schnapf works in a variety of visual and time-based disciplines, but in recent years has focused on his “foundation” in painting and drawing. Having spent several years developing performance-based installations and events, his investigations in these mediums, particularly dance, continue to inform his work today. Cognizant of the audience’s role in the activation of meaning, he builds multi-layered works that unfold slowly, rewarding prolonged viewing with ever-changing revelations. Schnapf regards his paintings as time-based works. He believes, “there is no better avenue by which to approach the inconstant emotional and psychological space experienced in dream, desire, memory, and premonition.”  Born in Indiana, Marty Schnapf (USA, b. 1977) earned a Bachelor of Fine Arts from Wittenburg University in 1999, specializing in Painting, Printmaking, and Sculpture. He has received solo exhibitions with Diane Rosenstein Gallery, Los Angeles; PERROTIN, Shanghai; Wilding Cran Gallery, Los Angeles; UNIT LONDON and Alice Black Gallery, both in London, UK. He was a recent artist-in-residence at XENIA Creative Retreat, Hampshire, UK (2023). Schnapf’s paintings have been included in group exhibitions with Wilding Cran Gallery, Los Angeles (2024); GAVLAK Gallery, Los Angeles (2023); PLATFORM (in partnership with David Zwirner Gallery, 2022); and A.MORE, Milan, IT, among others. In Taiwan, he installed a public sculpture at the Soulangh Cultural Park in Tainan City (2018); and he received the 2016 Rema Hort Mann Foundation ACE Grant for “Night Fever,” a sculptural installation in downtown Los Angeles. The artist lives in Highland Park, CA, with his partner, the sculptor Cammie Staros. ____ Diane Rosenstein Gallery announces Assembly — a solo exhibition by Connecticut-based artist Carl D'Alvia (USA, b. 1965). A selective overview of figurative sculpture, installed here in two gallery spaces, Assembly reunites a body of work created over the past decade. This is D’Alvia’s inaugural exhibition with our gallery and his solo debut in Los Angeles. Carl D’Alvia is a deep lover of art history, and he works in a sculptural idiom that is decidedly hyper-visual, meticulously handmade, and labor intensive. His naturalistic forms -- marble and bronze birds, dogs, magical characters, and even aged timber -- possess an energetic essence that we recognize and relate to real world analogs. ‘There is a fascination with surfaces and the leveling and transformation of totems old and new…into D’Alvia’s unique Minimalist-inflected Baroque-Surrealist language,’ observed curator and writer Dan Nadel (2016). We are tempted to stroke Barboncino, 2019, a white marble tabletop work shrouded in elaborately carved fur that obscures any dog features like a nose or tail. ‘Every sculpture lives…carpeted in a dizzying surface,’ writes gallerist Lauren Wittels in her 2022 catalogue essay. Especially Rocket, 2022, a bronze birdlike sculpture that appears to be fully enveloped or clad in leaves rather than feathers. Each vein is detailed adding a graphic, Neo-Baroque energy to the surface. Like Barboncino, we do not see explicitly avian features, talons or a beak, but sense the enfolded wings, and imagine that Rocket is destined to take flight. The manifest energy under the veiled exterior is palpable and at times painful. D’Alvia explains that he is ‘very compelled by this idea of veiling, and this sort of paradox of giving a surfeit of rich visual information on the exterior, but then in the end obscuring the interior of the piece [and] this led to a major theme in my work, that of contradiction or opposition.’ More than a harmonious object the ideal for Carl D’Alvia is an appropriately contradictory one, energized dialectically by its opposites. Drawing on sources that include megalithic monuments, toy design and the Baroque, the work encapsulates seemingly antithetical motifs such as minimal/ornate, industrial/handmade, comic/tragic, progress/destruction and attraction/repulsion. Carl D’Alvia (USA, b. 1965) was awarded the Rome Prize for Visual Arts (2012-2013) from the American Academy in Rome, IT; and he received a B.F.A. from the Rhode Island School of Design (1987). Recent solo shows include Hesse Flatow, Nathalie Karg, and Regina Rex, in NY; and in Paris at Galerie Hussenot and Galerie Papillon. D’Alvia’s sculpture was included in exhibitions at Anton Kern Gallery, The Journal Gallery, The RISD Museum, Yerba Buena Art Center, and Feature Inc. The artist lives and works in West Cornwall, CT.