Anat Ebgi is pleased to present new paintings by Los Angeles artist Joshua Petker. The exhibition, entitled Hyacinth Canyon, is the artists’s third solo exhibition at the gallery. An opening reception will be held on Saturday, September 13, 6-8 pm. Hyacinth Canyon names both myth and place. Taking inspiration from the Greek story of beauty, rivalry, and metamorphosis, Petker pairs it with a fanciful California canyon where time folds on itself. The convergence of history and imagination unites Petker’s practice, which treats painting as a site of overlapping realities. Across large and medium scale canvases, layered and interlocking figures share a frame, yet retain a charged, separate relationship to each other. Ghostlike impressions, statuesque nudes, and wandering outlines of beasts and smiles seem at once animated and permanently fixed, arrested by a skin of paint. Here Petker treats the present tense as composite: histories, jokes, and devotions convene as a simultaneous multi-subjective reality. Simultaneity registers as a metaphor for our times. Courtly decorum and comic interruption share the same picture plane. Identity and archetype behave like collage, as convergent stacks of roles that never settle into singularity. Desire and discipline move as mutually dependent currents through these avatars of contemporary ascension. Whether in a grand promenade portrait or a crowded tavern of layered subjects, the painted surface operates like a proscenium, where allegory, memory, and revision overlap rather than resolve. Petker’s chromatically intense palette is a structuring device, setting the order of attention. Ice blue, burning orange, and punctuating cadmiums direct the eye rhythmically across the canvas. Suggesting a sort of anarchic freedom, limbs and costumes splice, silhouettes echo and contradict, outlines double back, tracing a choreography of alternate poses and time scales. Varying expressions of line, color, and rendering sit together; revisions, rubbings, and drips remain legible throughout. Petker’s subjects command this bizarre, yet curiously credible and fertile world of the imagination and subconscious. Forming a lush, theatrical world where anachronism and allegory collide, Petker mines a visual vocabulary of 18th- and 19th-century European painting. Courtly attire, powdered wigs, pastoral landscapes, and studio tableaux, are filtered through a Petker’s psychedelic lens producing figures who are at once historical, haunted, and disassembled. Goblets, masks, laurels, tambourines, dogs, and dragons alike, circulate as props in a repertory theater. Their recurrence turns iconography into a grammar of morphability. Process and development, rehearsal and performance, period styles and studio cartoons, water nymph and flower child, share the stage to complete a vision of reality. Petker reanimates art history as a medium of fantasy, introspection, and archetype, reimagining historical motifs and genre toward an emotional truth. Joshua Petker (b. 1979, Los Angeles, CA) completed his MFA at the California Institute of the Arts (CalArts), Santa Clarita, CA and his BFA at Evergreen State College, Olympia, WA. He has exhibited his work in solo exhibitions at Anat Ebgi, Los Angeles, CA; Rachel Uffner, New York, NY; ASHES/ASHES, Los Angeles, CA; and Monte Vista Projects, Los Angeles, CA; as well as group exhibitions at National Arts Club, New York, NY; albertz benda, New York, NY; Althuis Holland, Amsterdam, Netherlands; Spurs Gallery, Beijing, China; Carl Kostyál Gallery, Stockholm, Sweden; La Loma Projects, Pasadena, CA; and ACME, Los Angeles, CA. A forthcoming solo exhibition, Hyacinth Canyon, will open at Anat Ebgi, Los Angeles, CA in September 2025. His works are in the permanent collection of the K11 Art Foundation, Hong Kong, China and X Museum, Beijing, China. Petker lives and works in Los Angeles, CA. Image: Joshua Petker The Gentleman, 2025 (Detail) _____ Anat Ebgi is pleased to present new paintings by German artist Fabian Treiber. The exhibition, entitled I Take The Whole Damn Place With Me, is the artists’s second solo exhibition at the gallery. On view at 6150 Wilshire Blvd, Los Angeles from September 13 to November 1. An opening reception will be held on Saturday, September 13, 6-8 pm. Spontaneity of gesture and response to material drive the engine of Fabian Treiber’s paintings. Swaths of thinned paint, crisp masked edges, and abrupt textural shifts signal a process attuned the examination of artifice and pictorial mechanics. Flattened perspective, compressed space, and abrupt visual breaks push up to the bounds of representation. The starting point for these paintings lies in fragments taken from the empty backgrounds of early Hollywood animations: interiors, landscapes, transitional zones originally designated as passive scenery. The resulting pictorial spaces resist fixed interpretation, hovering between found image and painterly invention. Memory becomes a central operative force, not as nostalgia or as recollection of what was, but as an unstable state to linger in. His paintings adhere to the logic of déjà vu: recognition without origin, the disquieting feeling of the familiar as it slips into strangeness. Treiber treats the built environment like an exquisite corpse of sorts—part home, part, set part studio—these rooms open onto diorama-like vistas; landscape slips indoors as decor. The result is a lucid, slightly uncanny vocabulary of props, portals, and stages. Windows that frame pastoral fragments, and sinks and pipes that connect literal lines bisecting the picture plane. Curtains, carpets, bits of fabric perform acts of revealing and concealing. A recurring cast of props, plants, and personal effects unite these environments. Emblematic trees reappear at different scales; circular moons rhyme with faucet handles, basins, and glass rims; abandoned shoes mark the stage like floors. Treiber uses these motifs as pictorial devices, as anchoring points around his varied paint languages. Airbrushed haze, scumbled passages, cartoon-outline notations, and paste-ups share the same field. Treiber indulges the pleasure of atmosphere and color while skirting the seamlessness of illusion. Day, dusk, and night cohabitate. Rags, pipes, patched walls share the surface of pastoral longing. These modest elements do double duty: a flame is mark and illumination, a shred of cloth is decor and gesture, a thread is a line that remembers a hand. These works remind us that a view is a construction where the scenic and the architectural are painterly problems. Larger canvases expand painting into rooms that borrow from the cinematic, assemblages fold the picture plane into the scale of a keepsake. Functioning as a discreet suite, Treiber’s new framed “painting-assemblages” compress these questions to an intimate scale, sharpening the stakes. Each small panel builds a tiny proscenium from found materials. Pleated cloth, linen valances, brass tacks, bottle caps, scraps of paper, and matchbooks are set against stained or oversprayed grounds. Curtains promise access, yet question what is revealed is often a charged field of color or a tonal xeroxed photographic ghosts, conjuring, carrying, concealing. I Take The Whole Damn Place With Me asks how images remember, how they linger as afterimage, echo, palimpsest. Insisting on both construction and atmosphere, the exhibition hinges the romance of light and color against the gritty process of painterly assembly. Landscape is treated as portable, something open, psychologically and poetically charged. These paintings remind us that a view is never given, but built: sites where seeing becomes an act of making. Fabian Treiber (b. 1986, Ludwigsburg Germany) studied Fine Art at the Stuttgart State Academy of Art and Design, Stuttgart, Germany. He was awarded the Karl Schmidt-Rottluff Scholarship for his work up to 2018 and was granted by the Kunsthalle Nürnberg with the Marianne Defet Painting Scholarship the same year. In 2021 he was a finalist for the Große-Hans-Purrmann Prize. His works have been shown in solo exhibitions at Kunsthalle Nürnberg; Kunstverein Ludwigsburg; Museum zu Allerheiligen, Schaffhausen; Ruttkowski;68 Gallery, Cologne and Paris; KANT Gallery, Copenhagen, Haverkampf Leistenschneider Gallery, Berlin; Galerie Mark Müller, Zurich; and Public Gallery of Ostfildern, Stuttgart. His 2022 solo exhibition Sunrise Doesn’t Last All Morning at Anat Ebgi, Los Angeles, CA was the artist’s debut in the United States. Further his work has been included in group exhibitions at Kunsthalle Düsseldorf; Villa Merkel Galerien der Stadt Esslingen a.N.; Staatliche Kunsthalle Baden-Baden; Kunstverein Speyer, Arts Projects Australia, Melbourne; CFHILL Art Space, Stockholm; König Gallery, Berlin; Kunstverein Lüneburg; 69 Art Campus, Beijing; Kunstmuseum Singen; X-Museum, Beijing; and PACE Gallery, Hong Kong in 2024. Treiber lives and works in Stuttgart, Germany. Solo show featuring works by Fabian Treiber