Sean Kelly, Los Angeles is delighted to announce Keep Your Wonder Moving, the West Coast debut of Chicago-based artist Lindsay Adams and her inaugural solo exhibition with the gallery. Titled after a note written by poet Patricia Spears Jones to philosopher Audre Lorde, the exhibition, presented on the third floor, consists of eleven abstract paintings. Keep Your Wonder Moving emphasizes the artist’s longstanding interest in world-building – Adams’ exploration of abstraction as a conduit for expanding the imagination while embedding deeply personal narratives. The exhibition opens on Saturday, January 18 from 5 - 7 PM. The artist will be present. Adams’ work interrogates the boundaries of abstraction and representation, seamlessly weaving together the materiality of paint with the intangibility of memory and cultural identity. Her layered approach—where pigments are built up, washed away, or otherwise manipulated—imbues each canvas with a sense of flux, reflecting her assertion that painting is as much alchemical as it is artistic. Her process leaves behind not only a complex surface, but also an ambiguity that invites sustained contemplation. Keep Your Wonder Moving pivots from her earlier figurative depictions of nature and Black subjects to a complex abstract vernacular. As Adams describes, this transition emerged as “an inevitable shift toward expressing a conceptual story, allowing myself latitude in my storytelling and cultural reflection.” The works on view highlight her interest in constructing imagined ecologies, spaces in which rhythmic gestures and dynamic hues engage in a continuous dialogue. For instance, in Rhythm With Blues, electric yellow and lavender forms bloom against an inky blue background, evoking a field of abstracted flowers that resist traditional representational constraints. Adams challenges the viewer to question the delineations of form to embrace the unknown. Thematically, Adams situates her practice at the intersection of resilience, freedom, and the quotidian realities of Black womanhood. Her work transforms the canvas into an aspirational site—one that allows for intimate encounters with self-discovery and resistance against societal constraints. This ethos resonates with her political and cultural identity, as her paintings assert their presence within a broader discourse of artistic and social transformation. The exhibition thus positions painting as both a reflective and generative act, with Adams’ compositions acting as sites where meaning is not prescribed but rather discovered. Lindsay Adams is currently finalizing her MFA in Painting and Drawing at the School of the Art Institute of Chicago and received a BA in both International Studies and Spanish from The University of Richmond. She has already garnered critical recognition, including the prestigious Helen Frankenthaler Award in 2024 and the New Artist Society Merit Award in 2023. Her work has been exhibited at the Baltimore Museum of Art, MD and the Martin Luther King Jr. Memorial Library, Washington, D.C., and is included in the collections of the Baltimore Museum of Art and Northwestern Law School. ____ Sean Kelly, Los Angeles is delighted to present Fading Origin, Wu Chi-Tsung’s first solo exhibition in Los Angeles. Known for his experimental approach to photography, Chi-Tsung’s work bridges traditional Chinese art techniques and contemporary media, integrating Eastern and Western aesthetics. The exhibition features new works in Chi-Tsung’s signature Cyano-Collage series and marks innovative new developments in his Wrinkled Texture works. There will be a reception from 5 to 7 pm. The artist will be present. Wu Chi-Tsung was initially drawn to the cyanotype – an early form of photography requiring only basic chemicals and sunlight – in response to the rise of digital photography. For Chi-Tsung, what digital photography loses, and what his cyanotypes capture, is the medium’s openness to chance and its connection to the material world, qualities that make each cyanotype unique. Chi-Tsung’s renowned Cyano-Collage series synthesize his dual interests in Chinese landscape painting and experimental photography. This process begins by washing sheets of Xuan rice paper in photo-sensitive materials, which, when dried, Chi-Tsung creases by hand and exposes to sunlight. The subsequent abstract elements are collaged together on aluminum panels. The resulting images are open to interpretation perhaps evoking sublime mountainous landscapes or tumultuous seascapes. With their stunning formal cohesion and classical grandeur, the Cyano-Collages belie the inventive process of their creation. While Chi-Tsung conjures his panoramas through experimental photography, his use of the cyanotype process retains a connection to both the artist’s hand and the natural world. In this way, Chi-Tsung captures the spiritual depth of Eastern painting traditions dating back over a thousand years, while renewing it with a contemporary aesthetic. In the new Wrinkled Texture Fading Origin series the diptych and quadriptych works begin with a single, full sheet of exposed cyanotype paper. This print then becomes the basis for recursive cyanotypes within the same work, with each image becoming the negative for the adjacent sheet. The result is a mesmerizing shift between blue and white tones, where the original image gradually dissipates into a field of color. This process captures the ephemeral and transient qualities of the natural world whilst also emphasizing the slight, irreproducible differences unique to analog processes. By double-exposing the paper and exploring the faded origin of the image, the Wrinkled Texture Fading Origin series reflect Chi-Tsung’s commitment to advancing the medium while preserving the poetic, tactile qualities of analog photography. Wu Chi-Tsung believes his generation is the last to transition from analog to digital photography, a shift that profoundly informs his practice. Unlike digital images, where copies retain perfect fidelity, analog processes embrace subtle variations that reflect their individuality. In his Cyano-Collage series, breathtaking images emerge from the meticulous accumulation of numerous cyanotype prints, while his Wrinkled Texture works explore cycles of emergence and disappearance through innovative multiple exposures. Together, these works emphasize the conceptual depth, material innovation, and aesthetic sensitivity that define Chi-Tsung’s body of work. Wu Chi-Tsung’s work has been the subject of solo exhibitions at the Katonah Museum of Art, New York and TAO Art, Taiwan. His work has been included in international exhibitions at institutions such as the Mori Art Museum, Japan; the National Museum Cardiff, United Kingdom; the Long Beach Museum of Art, Los Angeles; the Casino Luxembourg – Forum d’art Contemporain, Luxembourg; the Museo Del Palacio De Bellas Artes, Mexico; the Central Academy of Fine Arts, Beijing; the Shanghai Art Museum and the Minsheng 21st Century Museum, Shanghai, China; the Seoul Museum of Art, South Korea; the Hiroshima City Museum of Contemporary Art, Japan; the Ullens Center for Contemporary Art, Beijing, and the Taipei Fine Arts Museum, Taiwan amongst others. Wu Chi-Tsung was the recipient of the Liu Kuo Sung Ink Art Award, Hong Kong in 2019, the WRO Media Art Biennial award in 2013 and the Taipei Arts Award in 2003. His work is included in renowned collections such as the Xie Zilong Photography Museum, the Post Vidai Collection, M+ Hong Kong, The Vero Beach Museum of Art, The Santa Barbara Museum of Art, and the Borusan Contemporary Art Collection.