Timeshare is pleased to present Learning Curve, a three-person exhibition including work by Alexa Almany, Karl Haendel, and Pamela Ramos. The term “learning curve” was introduced in the early 20th century by T.P. Wright, illustrating progress as a steady rise in skill over time. Simultaneously, Jean Piaget was writing about learning as a series of punctuated shifts rather than a smooth ascent. Children don’t simply accumulate knowledge along a clean trajectory - they alternate between assimilation and accommodation. These phases often include regressions and contradictions, where previous understandings break down before new ones emerge. This discontinuous, recursive structure complicates the understanding of a “learning curve” as steady or incremental progress. Instead, development appears as a jagged, looping path. Alexa Almany’s Love, alexa is a series of wall drawings composed of the artist’s childhood diary entries between 2000 and 2003. In these works, Almany meticulously mimics her early penmanship, staying true to the immature dexterity in the original entries while scaling them up to span from floor-to-ceiling. The text itself is simultaneously sincere and humorous - reflecting on awkward childhood encounters with adult rules and categories. Karl Haendel’s drawing, A Sunday Afternoon on the Eastside of Los Angeles (2023), reinterprets Seurat’s historic pointillist composition A Sunday Afternoon on the Island of La Grande Jatte (1884-86). Haendel meticulously renders the landscape of the composition in graphite, while his daughter populates the scene with figures using ink. Her improvisational marks disrupt the compositional precision of Haendel’s dutiful interpretation of the original, infusing the work with a sense of spontaneity, curiosity, and intergenerational collaboration. Pamela Ramos includes a group of small-scale sculptures built from repurposed toys between 2018 and 2025. The head of Bart Simpson, Spider-Man, Mickey and Minnie Mouse are attached to fuzzy limbs and placed on plastic tricycles with battery packs and wire wrapped around their bodies. While their scale and material evoke toys of early childhood, their assembly produces an uncanniness. When activated, the sculptures chaotically cycle around the room or in circles until their batteries die, playfully placing themselves within the installation.