Closing Reception + Noise: Friday, September 5, 7pm - 10pm, the gallery is holding a reception for the current group exhibition ratio . But this show will not go quietly: we will be making some noise starting at 9pm, with a stellar lineup stacking sets by Black NASA and GDS-89. ratio . Trey Ross, Shuai Yang, Cesar Herrejon, Joey Serricchio, Sue Shu, Saun Santipreecha. July 26 - September 6, 2025. Group Exhibition. _ _ Now back to beginning to be housed like a human being (in public)….“Hello, welcome!” Your entry will be logged. Your steps measured. Your gaze traced. Usually, when I walk through a door, I usually keep going (I’m supposed to fit through its frame). Usually, when I sit, the chair usually withstands my fall. Usually, if I read these letters, they should usually be close enough to see…. Equipped with techniques of my body, their dysfunction is never a failure—but their hyperfunction destroys me. (My dysfunctions become ‘specialities’ and “special needs”: I generate a surplus each time I don’t become something already built.) Like an immune system, any ‘functional’ process shits where it eats and a balance must be maintained: a pacemaking ratio of inputs to outputs. Bijection, surjection—and especially injection. But the pacing moves faster than the function, so it gets hyped… blown out of proportion. A blow-up doll turning blue. Like a body, it shits where it fucks and fucks where it eats but never skips a beat. (Never forget: any system always rhymes!) Usually, one pill makes you larger, one pill makes you small. Either way, you’re on target for elimination of the threat. You’re an illuminati: “The reader, the thinker, the loiterer, the flâneur, are types of illuminati just as much as the opium eater, the dreamer, the ecstatic, [the Caesar].” Either way, we are at the end of the Seizers, the settler’s lifespan. (Postictal.) So at last I am beginning to not be housed like a human being. After all, “One thing in any case is certain: man is neither the oldest nor the most constant problem that has been posed for human knowledge.” After all, “The struggle of our times is one between the overrepresented figure of Man … and the human, who must now struggle to free itself from this overrepresentation.” A human being that’s more than the human. After all, we are still in search of the length of lost time. After all, what an artist dies in me. …. How do we build systems on the scale of thought, on the scale of something manual, capable of accounting for the size of reality and the scale of the cosmos, without turning something into something else—without making a mirage with my measurement? Or, what is the scale of a logic, language, sound, or writing? Consider the politics of scale, from the cosmological to the sub-atomic, and how hallucinatory imaginations of space, time, and material produce diseased realities “scale pathologies" that manifest where forms of reason overreach their proper domains. The social and cultural consequences of these scale pathologies are particularly evident in colonial timekeepings, extractive cartographies, modern aesthetics, and neo-liberal biopolitics. (This line of questioning seems important since it starts at the origins of logic and rational systems of calculation, but extends up through the current moment as a series of unsolved problems in science and mathematics, as with the problems of measurement that accompany quantum theories.) “Scale pathology” refers to a breakdown or distortion that occurs when systems—whether conceptual, aesthetic, technological, or political—operate at incongruent scale, or attempt to universalize a logic of measurement or precision beyond its appropriate domain. It names the dysfunction that arises when a regime of reason, quantification, or proportion becomes detached from the embodied, local, or affective contexts it purports to organize or represent. Scale pathologies can manifest in urban planning, colonial timekeeping, datafication, aesthetic overreach, or scientific modeling—anywhere scale becomes a tool of dominance (commodification, commercialization) rather than materialization, interpretation, or translation. The term also points to the epistemic and ethical failures that result from this mis-scaling: the silencing of difference, the erasure of subjectivity, and the collapse of proportion into madness or chaos. More concretely: an evident historical example of what I am referring to as a “scale pathology” is the institution of the Colonial Time Zones in India (1884–1947). During British rule, India was forced into a uniform time regime based on Madras and Bombay observatories, despite the subcontinent spanning multiple longitudinal zones. "Indian Standard Time" was set to serve the railway and telegraph networks rather than the rhythms of local life. For much of the 19th and early 20th centuries, places like Calcutta operated on two competing clocks: Calcutta Time and Railway Time. The scalar logic of empire—standardizing time for efficiency and governance—produced dissonance in everyday life, religious practice, and political identity. This is a scalar pathology: the imposition of a temporal scale optimized for imperial infrastructure but maladaptive to the cultural, climatic, and cognitive rhythms of the region. Now, the scale of empire, the colonial division of time, has proliferated as we live in constant (but variable) ‘screen phase.’ But these symptoms of unreality also signal speculative ways of working-through slippages and corruptions across distances and differences of scale, measurement, reason, and unreason (madness). (Something like a metric dissonance or epistemic vertigo.) Together, these inquiries reveal a deep, global, and speculative archive in which precision is not only a tool of control but also a site of crisis, resistance, and radical imagination. __________________________________________________ | trey ross (b. 1999) grew up in the Silicon Valley. He currently lives and works in Los Angeles. His work engages ceramic and lithographic processes in an experimental practice that explores the natural, technological, and magical. [His recent solo exhibition Future Fossils was presented at Long Play Contemporary in Santa Monica, CA in 2024.] | Shuai Yang (b.1998, Beijing, China) is a New York-based visual artist. Practicing across sculpture, printmaking, drawing, painting, and installation, she investigates the conflicts between the lived nature and man-made laws, specifically challenging the system of measurement. Yang received her MFA in Visual Arts from Columbia University School of the Arts and a BFA in printmaking from Massachusetts College of Art. She has exhibited her work in a three-person exhibition at Eli Klein Gallery (New York) and has shown at Hudson River Museum (New York); Lenfest Center For The Arts (New York); Society of Arts and Crafts (Boston); Chambers Fine Arts (New York); Storage Gallery (New York); LATITUDE Gallery (New York); theBlanc (New York); DeCA Foundation (New York); Fredric Snitzer Gallery (Miami); Abigail Ogilvy (Los Angeles); Accent Sisters (Jersey City); among others. Her work is collected by the Hudson River Museum (New York) and the Artemizia Foundation (Bisbee, Arizona). Yang has received reviews and interviews from Impulse Magazine, White Hot Magazine, and VENTI Journal, and has given talks at the Pratt Institute and the Massachusetts College of Art. She is a recipient of the GlogauAIR Artist-in-Residence (Berlin, Germany), Vermont Studio Center Residency (Vermont, U.S.), Nars Foundation International Artist Residency (New York, U.S.), Rockella Artist Residency (New York, U.S.), Morty Frank Travel Award, and Donald C. Kelley Travel Award. | Cesar Herrejon is currently an MFA candidate at the University of Colorado Boulder focusing on mixed media painting and drawing. He is from Birmingham Alabama. Growing up in the deep south, Cesar was involved in the skateboard culture around his teen years and draws influences from these childhood experiences into his work. Currently his work also explores materials foreign to academic artistic expression that parallel and enrich his cultural heritage. He often uses defamiliarized quotations from culture in his work like the surrealism that he finds deeply rooted in Mexican Culture. Art is the only thing that has interested him, and it is the only thing he has found to feel passionate about and build his identity with. His studies and research included printmaking incorporating it with painting and drawing. [His work was previously exhibited with Reisig and Taylor Contemporary during There's no telling time (Spring 2024).] | Joey Serricchio is a conceptual artist and sculptor working across interdisciplinary mediums, currently living and working in Los Angeles County. Their practice explores systems and infrastructures—both tangible and intangible—operating at various scales, from the intimate to the expansive. By focusing on the banal and fleeting, the monumental and inescapable, the tender, the callous, the vast, their work invites a closer look at the systems and forces that shape our lives. Their work is rooted in questions of permanence, safety, and inevitability, often taking the form of assembled sculptures, temporary installation, or systematic intervention. Through these mediums, the artist seeks to reveal the mundane moments that turn into emergencies. Joey Serricchio holds a BFA in Fine Art from ArtCenter College of Design. Their work has previously been exhibited at Kylin Gallery, Tropico de Nopal Gallery, and sidebitch Project Space. | Sue Shu (she/her) was born in Shanghai, China. In 2023 Shu starts to immigrate to America. Shu lives and works in Los Angeles, CA. Shu is a process-based artist who makes multi-medium sculptures. She received her BFA in fine arts from the California Institute of the Arts in 2022. Her MFA thesis exhibition we are becoming clouds took place in March 2025 candidate at the Graduate Gallery University of Southern California (curated by Jiayi Hou). Shu is the recipient of USC Roski Departmental Fellowship. Shu also received the Macomber Travel Award to in 2024 to travel to Jingdezhen to research and learn techniques of the ramie fabric. Shu had her first solo show When the Monster Speaks in 2024, at Attom Gallery in Lincoln Heights. Her riso zine was collected by LACA. | Saun Santipreecha (b. 1989, Thailand) is a composer, interdisciplinary artist, and writer who works at the intersection of image, sound, and body. He has had two solo exhibitions at Reisig and Taylor Contemporary in Los Angeles, CA (Dandelye—or, Beneath this River’s Tempo’d Time We Walk (2023), and …These Things That Divide The World In Two… (2024)) as well as a solo exhibition in Rome, Italy (Per/formative Cities, A Nest of Triptychal Performances (2024)). He recently had his first institutional commission for a sound and sculpture installation in the ADN East German guardhouse at the Wende Museum (2024). His work has been in various group exhibitions in South Korea, New York and Los Angeles.  His compositional work in film, television, and fashion—many of which he worked on under the pseudonym S. Peace Nistades—has been screened in over thirty film festivals worldwide including the Cannes Film Festival as well as at New York, Paris and LA Fashion Weeks. He has worked in numerous capacities in the music department for a number of composers including John Debney, Danny Elfman, The Newton Brothers and Abel Korzeniowski. He was invited to speak at the 9th Annual Conference of the Samuel Beckett Society—Beckett and Justice—at California State University, Los Angeles on the panel Beckett, Justice, and Thai Artist Saun Santipreecha in conversation with Beckett scholars Katherine Weiss and Feargal Whelan (2024) and has also served as an Industry Mentor at Musician’s Institute (2020-2022). He is currently based in Los Angeles and continues to work with artists and specialists across disciplines including film, fashion, and performing arts. {Biographical information courtesy of the artists.}