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Natalie Kates

@stylecurator

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@katesferriprojects "Supporting and Cultivating the next generation of Contemporary Artists"
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KATES-FERRI PROJECTS ⁠ Money Dance: Studio Lenca ⁠ Armory NY 2026 ⁠ Booth #P15⁠ ⁠ Justos (2026)⁠ Oil and acrylic on canvas⁠ 57.08 x 76.77 in. / 145 x 195 cm. by @stylecurator
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2 days ago
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The Armory Show NY 2026 KATES-FERRI PROJECTS Money Dance: Studio Lenca Booth P13 ‘It’s unclear if these figures are dancing or running.’ – Studio Lenca Money Dance is a new body of work by Studio Lenca inspired by El Baile del Billete, a wedding tradition common in the artist’s home country El Salvador, Costa Rica, Cuba, and Mexico, where guests pin money onto the couple in exchange for a dance. In the exhibition, Studio Lenca’s visual framework of Historiante dancers, a Salvadoran tradition shaped by colonial histories, is layered with references to movement and the materiality of currency, diasporic movement and economic precarity across generations and borders. taken in Javits Center by @stylecurator
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3 days ago
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HOTT OFF THE PRESS Studio Lenca Has Built a Career on the Ambiguity of the Diaspora Experience By Elisa Carollo & featured in the OBSERVER! José Campos has shown across Seoul, Brussels, Miami and New York and has pieces in the collections of the Parrish Art Museum and Pérez Art Museum Miami. His latest works translate his experiences of migration and displacement into vivid images and immersive environments where color and community inform new ways of thinking about home. There is a diasporic narrative focused on migration, displacement, longing and the desire to re-establish a sense of belonging that animates the artist Studio Lenca (known otherwise as José Campos) and his practice. But there is also a sense of hope and joy, expressed through color and the playfulness of his cartoonish style. “Color is important because color is about joy,” Campos tells Observer. “I don’t see joy as the opposite of a difficult history. It’s often a way for people to survive difficult histories.” @studiolenca @katesferriprojects @thearmoryshow @observer @elisartgal Copy & Paste for full article: https://observer.com/2026/09/artist-interview-studio-lenca-jose-campos/ by @stylecurator
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4 days ago
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KATES-FERRI PROJECTS Studio Lenca – Armory NY 2026 – Booth #P15⁠ ⁠ Recuerdos, a series of mixed-media works, each beginning with a screen- printed image of the former currency of El Salvador, the colón, which was replaced by the US dollar in 2001. Using the colón as a visual reference, the works reflect on migration and U.S. influence in El Salvador. ⁠ ⁠ “I remember these notes being pinned to brides during money dances, passed between relatives, and crumpled into our hands to buy aguas frescas on the beach. Like much of what I remember of El Salvador, the colón now feels like folklore - no longer part of everyday life, but still present in stories, gestures, and recollections. When the currency disappeared from circulation, the notes shifted from something we used into something we remember. The colón was also a reminder to all of us of a difficult history. Named after Christopher Columbus and bearing his image, the currency held the legacy of colonisation and the violence that came with it. Its replacement by the US dollar, during a precarious time in our history brought another complex system of power, value, and influence into everyday Salvadoran life. ⁠ ⁠ In Spanish, recuerdos means memories, but also souvenirs: things we carry with us and things we make so that something can be remembered. Some of the first things I ever made were recuerdos for weddings and quinceañeras. Sitting with my mom and tías, we would glue sequins, tie ribbons, fold and stitch, making small objects for guests to take home. We listened to Selena and Hermanos Flores while we worked, talking, and singing together. I wanted to return to this way of making. I made these works alongside my mother and sister, spending hours sewing, folding and glueing together. As we worked, a portal opened up where we could talk about what we remembered, what had changed and what had been passed between us since leaving El Salvador. I wanted the colón to become a recuerdo itself: embellished, layered and remade by hand. What was once a measure of value becomes something that holds memory, carrying intimate family histories alongside larger histories of colonisation, migration and erasure.” ⁠ by @stylecurator
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4 days ago
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KATES-FERRI PROJECTS ⁠ The Armory Show 2026⁠ Solo booth with artist Studio Lenca titled “Money Dance"⁠ Booth P15⁠ ⁠ Studio Lenca⁠ Lago (2026)⁠ Oil and acrylic on canvas⁠ 70.86 x 78.74 in. / 180 x 200 cm.⁠ ⁠ This painting is an imagined landscape inspired by my memories of the lakes of El Salvador, particularly Lago de Coatepeque, which sits within the crater of an ancient volcano. A solitary figure navigates the lake in a small boat, creating a relationship between the vastness of the landscape and the scale of the individual.⁠ ⁠ The multicoloured landscape is psychological as much as it is physical. For many years, after fleeing the Salvadoran Civil War, I was unable to return to El Salvador. Instead, I carried the country in my imagination, and this painting emerges from those remembered and imagined landscapes.⁠ ⁠ While the painting depicts someone moving through the landscape, it also explores an emotional journey. In the context of this exhibition, I am considering how external powers shape our relationships with our homelands, and how those forces continue to influence our sense of place, belonging, and identity.⁠ ⁠ by @stylecurator
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5 days ago
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For The Armory Show 2026, KATES-FERRI PROJECTS presents a solo booth with artist Studio Lenca titled “Money Dance.”⁠ ⁠ ‘It’s unclear if these figures are dancing or running.’ – Studio Lenca⁠ ⁠ Money Dance is a new body of work by Studio Lenca inspired by El Baile del Billete, a wedding tradition common in the artist’s home country El Salvador, Costa Rica, Cuba, and Mexico, where guests pin money onto the couple in exchange for a dance. In the exhibition, Studio Lenca’s visual framework of Historiante dancers, a Salvadoran tradition shaped by colonial histories, is layered with references to movement and the materiality of currency, diasporic movement and economic precarity across generations and borders.⁠ ⁠ Grounding the exhibition is Money Dance, an interactive kinetic coin-run that invites visitors to take part in their own El Baile del Billete. Visitors deposit quarters into the work, sending them zigzagging through the body of a Studio Lenca Historiante figure. As each coin crosses the figure, it moves with chaotic energy, racing from side to side along a precarious wooden track with a sense of urgency and unpredictability. The construction is deliberately simple, assembled from repurposed wood. Its provisional structure echoes recurring ideas in Studio Lenca’s practice around migration, precarity and making with what is available.⁠ ⁠ This series of work raises questions around exchange, the body and labor in Central America - how money is earned, passed between people and sent across borders. The unstable journey of the coin becomes a small performance in itself: money is set in motion, passed through the body and momentarily transformed from an object of exchange into something playful. by @stylecurator
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5 days ago
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September Arts is in Full Swing!! Thank you to all who made it out to Kates-Ferri Projects double exhibition headliners Cosmopolitini Kevin Sabo & Mirror Antonio Romero New gallery hours Thur, Fri, Sat & Sun 12pm -5pm and/or by appointment DM for exhibition catalogues taken in Kates-Ferri Projects by @stylecurator
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10 days ago
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TONIGHT 9/18/26 5-8pm! KATES-FERRI PROJECTS The B-Side MIRROR: Antonio Romero solo exhibition This culminating presentation is a new chapter in Romero’s two ongoing “sister” series: Navarone (2016) and Tropicalia (2019). The exhibition consists of large-scale landscape murals from the Tropicalia series and new unsettling figurative works from the Navarone series that showcase his exploration of power. Admittedly a socio-politically charged artist, Romero does not hide from the politics or the complexities of how power operates in our societies. With his Tropicalia series, the artist uses the reduction of the tropics in Central America. The landscapes become caricatures of reality with only one type of tree represented–palm trees. While in Navarone, the haunting faceless figures implicate the audience as a mirror. Anonymity often emboldens people to make harsh, unthinking comments, a phenomenon frequently observed on social media, making participants both victims and victimizers. Repression and intolerance have become the new global pandemic on and offline. By inviting audiences into his installation, Romero surrounds them with his paintings and curated works to help them recognize their complicity, subjectivities, and relationship to power. Participation leads to the understanding that entrenched frameworks serve only the few at the top. taken in Kates-Ferri Projects by @stylecurator
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11 days ago
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KATES-FERRI PROJECTS is pleased to present Kevin Sabo’s second solo exhibition at the gallery, titled Cosmopolitini, from Friday, September 18 to Saturday, October 31, 2026, with the reception taking place Friday, September 18, 6-8pm. Setting his newest series of works in the glorious New York City, Sabo finally answers what many have asked about his ladies in drag: where are they from? The artist admits that upon realizing their birthplace, it made complete sense: these striking beauties are femmes of Gotham. Sabo’s contextualization of his cosmopolitan ladies is not the only evolution in his latest works. Infusing his brand of Baroque pop and drag cabaret with Cubist, Brutalist, and German Expressionist intonations and color palette, his paintings enter a more grounded era of his ever-evolving style [the artist jokes that it comes with his own aging): “Thematically, they are an intersection between doom culture and pop expression. The neutral and gray tones desaturate my usual colorful signature style. It is perhaps an acceptance of the dystopian American dream, while cusping on a blissful possibility.” The consistent exaggerated figure and playful cityscape are contrasted against the solemn palette, making the specific and intentional use of color especially draw the eye. Through this new body of work, Sabo reimagines New York City as both stage and sanctuary, where his towering queens embody resilience amid uncertainty. The fractured architecture and subdued palette acknowledge a contemporary world marked by instability, yet the paintings never surrender to despair. Instead, they insist upon imagination as an act of resistance and drag as a celebration of self- determination. By rejecting borrowed imagery in favor of a wholly personal visual language, Sabo asserts the enduring power of originality, inviting viewers to envision a future where individuality, joy, and creative freedom remain not only possible but essential. taken in Kates-Ferri Projects by @stylecurator
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15 days ago
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September Art Season is in full swing!! Thank you Perrotin for the artist walk through and brunch in the LES! Congrats Nikki Maloof on our solo exhibition “Menagerie” at Perrotin NY on view until October 17, 2026. In Maloof’s new exhibition, large-scale paintings of zoos and a restaurants present multiple scenes in one frame, where layers of activity create a sense of distance or containment. In other paintings, human figures are obscured while plants and animals emerge as the only subjects with a distinct identity. Throughout the exhibition, recurring patterns and color palettes connect disparate settings: grids reappears in picnic blankets, animal enclosures, and furniture, linking domestic and public spaces. Maloof explores the dynamics of private versus public space, prodding the desire humans have to create a sense of control over their surroundings. Thank you @matthew_mccardwell @nikkimaloof @perrotin Styled by @obida.culture taken in Galerie Perrotin by @stylecurator
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16 days ago
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Congrats Chris Bors on our solo exhibition “Happy Nightmares” at Rosebud Contemporary on view until Oct 10, 2026. Essay by Carlo McCormick Location: 526 West 26th st 6th floor NYC @chris_bors @rosebud_contemporary @carlomccormickick taken in Rosebud Contemporary by @stylecurator
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16 days ago
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More bucket list “checked off” in Mexico City! Fab & I had an awesome private walk through of The Gilardi House, that was commissioned by advertising executive Francisco Gilardi to be built on a plot in a densely populated area of the capital, south of Bosque de Chapultepec park and not far from Barragán’s own residence. Colour is an essential component of this architectural ensemble – not merely as an applied layer but as a key aspect of the house’s complex spatiality. The interaction of structural elements with natural light and water affords visitors the rare experience of a full physical immersion. Thank you! @bernardosaenger @casagilardi_barragan taken in Mexico City by @stylecurator
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22 days ago
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