Roberts Projects is pleased to present What Does Webster’s Say About Soul?, an exhibition by Esmaa Mohamoud and the artist’s first solo presentation with the gallery. Featuring a suite of new sculptures that build upon Mohamoud’s rich visual lexicon, this exhibition considers the loss of innocence experienced by Black youth and how these experiences become imprinted on the body, mind, spirit and soul. Known for her conceptual practice that incorporates familiar objects and symbols from Black visual culture—including football equipment, peacock chairs, lowriders and butterflies—Mohamoud reimagines her source materials by transforming their scale and layering cultural references to recontextualize their interpreted meaning. The exhibition’s title comes from Gil Scott-Heron’s spoken word poem Comment #1 (1970), which earnestly describes the violence of racial and social inequality in America during that time. The deep significance of soul, and the harm that can be inflicted on it, is what Mohamoud’s sculptures examine from the perspective of Black children who must navigate a world that robs them of their innocence. In combination with lighting effects, mirrored reflections and the gradual decay of organic matter throughout the exhibition, Mohamoud’s figurative sculptures poetically evoke legacies of generational trauma while also allowing for moments of beauty and introspection. In I Can’t Forget You (My Whole World Turns Blue), a teenage boy in a hooded sweatshirt stands with his arms outstretched, alluding to both images of tragic gun violence and heavenly ascension. Mohamoud explores the confrontation with death and its psychological impact in …NUMB, in which a young boy sits cross-legged while holding a lifeless pigeon. The work’s profound depiction of a child’s first contemplation of mortality is heightened through the power of the viewer’s interpretation. This duality of meaning and implication runs throughout the exhibition and is expressed through Mohamoud’s choice of materials. Her use of shea butter assumes a novel form through the addition of charred animal bones, which create the black pigmentation seen in many of the figures. The shea butter sculptures create a strong contrast with works made of polished granite such as The Souls of Black Folk, a recreation of W.E.B. Du Bois’ renowned book which was published in 1903. The reflective surface and tangible weight of the material create a gravitational force in the gallery that pulls viewers into a singular world of Mohamoud’s creation, one that centers the importance of both collective experience and personal reflection. About the Artist Esmaa Mohamoud (b. 1992 London, ON, Canada; lives and works in Brooklyn, NY) is a conceptual artist working at the intersection of sculpture and installation. Her sculptures explore the politics of race and identity through references to and recontextualizing of objects from popular culture. Making use of materials that carry both personal and historical significance, Mohamoud creates symbolically rich and metaphorically complex works that consider the legacy of racial violence and the possibilities for future renewal. Solo exhibitions include What Does Webster’s Say About Soul?, Roberts Projects, Los Angeles (2025); Complex Dreams, the Eli and Edythe Broad Art Museum, East Lansing, MI (2024); Let Them Consume Me In The Light, Kavi Gupta Gallery, Chicago, IL (2023); It Cannot Always Be Night, Arsenal New York, NY (2022) and Esmaa Mohamoud: To Play in the Face of Certain Defeat (2019-2022), Museum London, Ontario, Canada, travelled to Art Gallery of Hamilton, Ottawa Art Gallery, Winnipeg Art Gallery and Art Gallery of Alberta, Canada. Group exhibitions include Sports Culture, San Francisco Museum of Modern Art, San Francisco, CA (2024), travelling to Crystal Bridges Museum of American Art, Bentonville, AR and Perez Art Museum, Miami, FL; Resistance Training, Eli and Edythe Broad Art Museum (2023) and In These Truths, Albright-Knox, Buffalo, NY (2022). Mohamoud’s work is featured in numerous public collections, including the Art Gallery of Hamilton, Ontario; the Art Gallery of Ontario, Toronto, Canada; the Eli and Edythe Broad Art Museum; the Montreal Museum of Fine Arts, Quebec, Canada; Museum London, Ontario; the National Gallery of Canada, Ottawa; Weatherspoon Art Museum, Greensboro, NC and the Winnipeg Art Gallery, Manitoba, Canada, among others. For additional information regarding Esmaa Mohamoud, please visit robertsprojectsla.com or contact Mary Skarbek, Senior Director at mary@robertsprojectsla.com or 323-549-0223. _____ Roberts Projects is pleased to present Fables, Guineps and the Sweetness of Unknowing, an exhibition of recent works on paper by Suchitra Mattai and her second solo presentation with the gallery. Created with Mattai’s singular approach to collage that blends different traditions of craft and cultural references, the exhibition adopts the literary form of the fable as its organizing structure to consider the enduring resonance of moral tales today. Drawing on her Indo-Caribbean heritage, Mattai’s multidisciplinary practice employs techniques such as embroidery, needlepoint and beading to create vivid and formally complex works that straddle the line between two- and three-dimensionality. In previous bodies of work, Mattai has made use of representational aesthetics from Indian miniature paintings while also referencing the subject and form of European pastoral landscapes and portraiture. Building upon this creative exploration, these works on paper also examine the history of ornamentation by sourcing examples from 19th-century academic volumes that represent the colonial practice of essentializing diverse cultures and traditions through a set of pictorial conventions. The process of collage allows Mattai to remain connected to the specific histories embedded within her materials—including pieces of embroidery, book pages and fragments of sari tapestries—while also attempting to unify them with new and inventive compositions. The use of narrative conventions has been central to Mattai’s process of reenvisioning her ancestral legacy, seeing them as repositories of historic meaning that can be reinterpreted and reimagined for the present. Mattai has looked to the history of fables—such as Aesop’s Fables and The Panchatantra in particular—for a conceptual framework to explore how society continues to make use of the character types and morally weighted meanings so often found in these stories. While still evoking the landscapes and architecture of European painting, Mattai’s collages interrupt those spaces and the formal implications they carry. This process of merging representational strategies which invokes a specific tradition of craft and artistry reflects Mattai’s broader project of considering how cultures have influenced one another through periods of migration. Fables, Guineps and the Sweetness of Unknowing highlights the ongoing significance of collage for Mattai, with each work presenting a rich layering of ideas, textures and materials which convey the infinite curiosity at the heart of her practice. The form of collage itself and its consistent fragmentation of space into different zones of style and technique reflects the artist’s effort to create a visual language—a new ‘future space’—where the regional traditions of her ancestry can be preserved as they contribute to a contemporary consciousness and moral reckoning. About the Artist Suchitra Mattai (b. 1973, Georgetown, Guyana; lives and works in Los Angeles, CA) is a multidisciplinary artist who explores how memory, myth and oral traditions can be harnessed to unravel colonial and patriarchal narratives. Drawing on her Indo-Caribbean roots, Mattai combines richly colored textiles, found objects, beads and more to create two- and three-dimensional works that offer a reimagined vision of the past that centers the perspectives of women and people of color, especially those from South Asia. Recent solo exhibitions include Suchitra Mattai: The Fall, Joslyn Museum, Omaha, NE; Suchitra Mattai: with abundance we meet, Brooks Museum, Memphis, TN; Suchitra Mattai: she walked in reverse and found their songs, Institute of Contemporary Art San Francisco, San Francisco, CA, travelled to Seattle Asian Art Museum, Seattle, WA; Suchitra Mattai: Myth from Matter, National Museum of Women in the Arts, Washington, D.C.; Suchitra Mattai: Bodies and Souls, Tampa Museum of Art, Tampa, FL and Suchitra Mattai: We Are Nomads, We Are Dreamers, Socrates Sculpture Park, Queens, NY. Select group exhibitions include the 36th São Paulo Biennial, 2025; Back To the Earth, Roberts Projects, Los Angeles, CA; Wired for Wonder, Kidspace Children’s Museum, Pasadena, CA; Allegedly the worst is behind us, Institute of Contemporary Art, San Jose, CA; The Appearance: Asian Diaspora in Latin America & the Caribbean, Americas Society, New York, NY; A Garden of Promise and Dissent, The Aldrich Contemporary Art Museum, Ridgefield, CT; Forecast Form: Art in the Caribbean Diaspora,1990s-Today, MCA Chicago, Chicago, IL, travelled to the Institute of Contemporary Art, Boston, MA and Museum of Contemporary Art, San Diego, CA. Mattai’s works are represented in the permanent collections of Crocker Art Museum, Sacramento, CA; Crystal Bridges Museum of American Art, Bentonville, AR; Denver Art Museum, CO; Kiran Nader Museum of Art, Delhi, India; Museum of Contemporary Art, San Diego, CA; National Museum of Women in the Arts, Washington, DC; Seattle Art Museum, WA; Tampa Museum of Art, FL; University of Michigan Museum of Art, Ann Arbor, MI and Wake Forest University, NC, among others. For additional information regarding Suchitra Mattai, please visit robertsprojectsla.com or contact Mary Skarbek, Senior Director at mary@robertsprojectsla.com or 323-549-0223. Image: Esmaa Mohamoud