Ulterior Gallery is pleased to present works by three artists for the Dallas Art Fair’s online edition. The world is confronting a very difficult time during the COVID-19 pandemic, and we have selected works that we believe might speak to us strongly in this current situation.

Mamie Tinkler is currently having an exhibition at Ulterior Gallery on the Lower East Side of New York. Tinkler’s otherworldly watercolor paintings are based on still-life photographs that the artist stages and shoots. With the objects that she collects and arranges into tableaux, Tinkler creates scenery that exists somewhere between the real and the surreal. The staged still lifes are rendered into enigmatic images with dramatic washes of watercolor. Tinkler’s paintings depict—they enact—liminal spaces in which everyday objects are transformed.

Gaku Tsutaja’s work is based on the artist’s reinterpretation of historical events around World War II and the Enola Gay, the B-29 bomber that dropped the atomic bomb on Hiroshima. The group of works on view was created during Tsutaja’s stay in Missoula, Montana last summer while she researched the WWII-era Fort Missoula Alien Detention Center, where foreign nationals, including Japanese immigrants, were interned during the war. The allegorical tales that the artist presents feature hybrid animal characters and are the artist’s re-interpretation of the history and pursuit of the “real” in the context of the political history of immigrants and nationalism.

Camel Collective’s series of paintings, A Facility Based on Change, was originally produced for the exhibition The Workers at Mass MoCA and shown alongside Camel Collective’s installation Transcript 1970. The images in the paintings originate from photographs printed in the North Adams Transcript, a newspaper that covered the 1970 labor strike at Sprague Electric Co.—now Mass MoCA—in North Adams, Massachusetts. These paintings serve as repositories of memory, fractured, fragmented, and reconstituted to invoke the historical intersection of industrial economies and their supersession by cultural spaces.