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Xiaowei Chen, Yukari Edamitsu, Debra Ramsay, Mark DeLura

October 14th to November 11th


Curated by Joshua Rosenblatt and Chris Ketchie


Opening October 14th 2 p.m. to 5 p.m.

Followed by a potluck


Upstairs: Xiaowei Chen, Yukari Edamitsu, Debra Ramsay

Click Here To See The Show


Downstairs: Mark DeLura

Click Here To See The Show




Xiaowei Chen

Xiaowei Chen







Ink on paper






Xiaowei Chen’s drawings demand close inspection then expel you to a distance where an ambient of decadence comes into view. Her works provide this multilayered visual experience through a style that blends the abstract and the figurative, the rational and the emotional, the alert and the subconscious, as they should belong to each other as in nature.


In her work selected for this show, Xiaowei draws inspiration from her inquiry into the concept of value. Humanistic views on value are divergent. From a broader and biological scale she proposes a perspective that rests on the common and overlooked, employing an expression that is microscopically figurative and macroscopically abstract.




Yukari Untitled

Yukari Edamitsu







oil on canvas


64' x 52"

Yukari Edamitsu:

Continuous images of war, racial tensions and political conflict in the news make Edamitsu think about who and where we are today as human beings. Her paintings primarily concern themselves with the inner world. In them she explores human emotion, commonality, and primal human feelings that are unconsciously shared by all humanity, unchanged since antiquity.

She strives for her paintings to reflect this inner world while making larger connections to natural, eternal and fixed phenomena, such as the cosmic order observed in the relationship among the Sun, Moon and Stars. She hopes the pastoral backdrop of the Re Institute will provide a stronger connection to these elements.


Debra Ramsay

Debra Ramsay




yellow green of a baby leek






12.25 x 7.25"



acrylic on plexi


Debra Ramsay:


The interaction of light with the artwork is one of the foundational qualities in Debra Ramsay’s work. She’s interested in an indeterminate color surface, ambiguity of where edges stop or start, and the ephemeral. The best example of what she aspires to capture is how, on a clear day, looking up at the sky you'll see pure blue, but it has no surface.


Ramsay’s contribution to the ReInstitute exhibition will touch on two ideas: time and the beauty of ordinary materials. Debra is showing a sampling of artwork from 2011 (Braille and Bubble Wrap with Gold Leaf) to the present to show a continued strain of investigation in her work.


Debra’s artwork is conceptually rigorous and process-oriented. The idea comes first; the search for materials, methods and procedures that will best support the idea follows. Once she develops the system for the specific project what remains is a form of meditation: Ramsay becomes the conduit for the arrangement of shape and the placement of color.


This will be Ramsay’s first exhibition with ReInstitute. In Sept 2016 she had a solo exhibition at Odetta Gallery in Brooklyn and will have a solo exhibition at the Brattleboro Museum of Art in Brattleboro, VT in April 2018.



Mark DeLura

 Mark DeLura



Acrylic on Paper



30" x 40"

Mark DeLura:


For the last few years I have been showing exclusively through one day outdoor pop-up shows here in the Hudson Valley. Most of these shows were of large abstract paintings placed along the edge of a hay field next to Route 22 about halfway between Millerton and Copake, NY. Recently, I also began showing figurative works alongside an unused milking barn nearer to Pine Plains, NY. The figurative works grew out of a loose narrative that seemed to come out of the archetypal idea of a hero’s journey. I have found that where the abstract work is at home within a landscape the figurative work is most at home within an architectural setting. The settings of the pop-up shows have been on or very near roads that are well traveled. The work is seen by a number of people who normally do not interact with contemporary art. The reactions that people have, the questions they ask and the resulting conversations that we enter into are a big part of what these shows are about. Recently, I have expanded this practice by placing my figurative imagery in advertising space that I purchase in the magazine Chronogram and in the classified section of The New York Review of Books.


This way of being with and showing art was something I began doing soon after college, while I was living in Los Angeles. I began painting impromptu imagery, in the middle of the night, on the temporary wood walls that surround construction sites. These works had a short life span because the same walls were always being recovered with posters for movies and musical acts. I also had a studio practice and would show the work from my studio in various nonprofit spaces. I continued this pattern when I moved to New York City. I continued in much the same way when I again moved to the Hudson Valley. In the Hudson Valley I have shown my work at the Re Institute, The Spencertown Academy, the Samuel Dorsky Museum of Art, The Wassaic Project, The Aldrich Contemporary Art Museum, and at a library on the campus of Bard College, Annandale-on- Hudson, NY. In 2005 I participated in the residency program at the Vermont Studio Center and was chosen to participate in the Radius Program through the Aldrich Contemporary Art Museum in 2007.