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THIN PLACES is pleased to announce its inaugural exhibitions: Diversions, a solo presentation of paintings on panel and paper by Derry Caldon in the dance hall, and Cameos, a solo presentation of drawings by Troy Barrett in the office suites.

Opening 10.16 from 7-11.

Named after the mystical concept describing sites where the boundary between worlds feels unusually permeable, THIN PLACES is conceived as both an art gallery and a works on paper showroom— a space dedicated to perception, atmosphere, and material presence.

In Diversions, Caldon presents luminous desert landscapes suspended between observation and imagination. Drawing from the shifting conditions of the California High Desert, the paintings engage the region’s dramatic atmospheric phenomena: alpenglow, twilight gradients, crepuscular light, and the heightened chromatic clarity produced by arid air. Mountains, cloud formations, and open terrain emerge and dissolve through fluid passages of color, creating landscapes that feel at once geological and psychological.

Throughout the exhibition, light behaves less as illumination than as a transformative force. Landforms become unstable, time feels slowed, and familiar space gives way to something more liminal and experiential. The works evoke not only the desert itself, but the strange perceptual states the desert can produce— moments where the boundary between memory, sensation, and place begins to thin.
In Cameos, Barrett transports us to another liminal landscape on a different scale: that of the body. Surveying not only the surface, but deeper into the structural, psychological, and emotional anatomy of the figure. We see a line emerge as a hair follicle, plunge past the trapezius, curl around the clavicle, slingshot up the zygomatic (cheek) bone, and spiral into the digestive lens of the iris… metabolized and cannibalized like an ouroboros— a notion of the subject subjectivizing themselves.

Making visible this dance— which we all inherently breathe like air but cannot see directly— of displaying ourselves and consuming others on display. An intimate psycho-somatic symbiosis inherent between the figure drawer and figure model, which Barrett directs his mark-making around like a choreographer…

All this buzzes around the head of our drawing before the psycho-artistic linear life cycle emerges again. Another hair follicle dances down to describe another particular aspect of the anatomic landscape. And alas, this dance coalesces into that landscape which we all know so well, yet is so foreign and infinitely immaterial.