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if a butterfly ever saw an owl

Presenting Assaf Evron at OSMOS in NYC

Hours for Opening Weekend (October 25-27th):

Saturday 12-6PM, Opening 6-8PM

Sunday 12-6PM

Monday 12-6PM

Exhibition then resumes regular OSMOS hours:

Thursday-Saturday, 12-6PM

50 E 1st Street, NYC

ro art services is delighted to announce a solo exhibition of Assaf Evron. Taking place at OSMOS, “if a butterfly ever saw an owl” features work from several interconnected series, including Evron’s “The Anonymous Shapes of Words,” “I Want to Believe Sea Cucumbers Are Happy,” and “Is the Eye I Am Seen As Is the Eye I See Myself Through.” Each navigates the limits of photographic representation through formal experimentation in abstraction, objecthood, appearance, and symbolic systems. While being philosophical and literary inquiries, the works remain grounded in photographic materials and processes.

Assaf Evron's "Untitled," 2024, archival print on metallic rag with artist-cut mat, 20.25 x 24.25 in, welded aluminum frame with Optimum glazing.

Past series by the artist have reflected on two central themes: cameras as language machines, and architecture, both modern and ancient. The works’ formal and material presence have a matter-of-fact quality, highlighting the camera’s language of representation as the medium through which it communicates. The work presents the illusion of representation with an ever-present awareness of its construction and limitation, making the language through which the picture speaks central to the works.

One of Evron’s preceding bodies of work had centered on a temple, and the quarry in Jerusalem from which the stones had been carved. The works in “if a butterfly ever saw an owl” began when he transitioned from the man-made void of an ancient quarry, to the pre-historic voids of natural caverns. Titled “The Anonymous Shapes of Words,” the series began when his spelunking throughout the Midwest became portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, they not only exist on a scale far-longer than human history, but have also formed some of the oldest exhibition spaces for human art. The series is printed on metallic paper, a material reminiscent of cave walls, with artist-shaped mats, whose geometric form and framed voids evoke the architecture by humankind. The images present cryptic depictions of gravity and form, a space where culture, nature, and legibility collapse into abstraction.

crop_AssafEvron_I Want to Believe Sea Cucumbers are Happy_2023_Digital Silver Gelatin Prin

Assaf Evron's I Want to Believe Sea Cucumbers are Happy (GOPR4964.JPG), 2023, 5 x 7 in. digital silver gelatin print, 11 x 14 in aluminum frame with Optimum acrylic glazing

The second series, “I Want to Believe Sea Cucumbers Are Happy,” was captured during dives in the Red Sea, where Evron used a GoPro along with an assortment of other cameras while scuba diving. An intimate series of sea cucumbers in their natural habitat, the portraits capture a creature who lives in an environment without gravity, but whose life is rooted to the sandy floor. Ancient worms passing the raw materials of their environment through their bodies, the sand-eating beings filter through space as creatures of cavernous nature and form.

While the first two series reflect each other, the third series mirrors unto itself. The focus of “Is the Eye I Am Seen As Is the Eye I See Myself Through” gives inspiration to the exhibition’s title, where photographs find the confusing forms of birds and butterflies in a conservatory. Composing their pictures with extreme focal or value ranges, the pictures play off what-we-know to be true, and what-we-see them to look like. The butterfly’s camouflage is both a visual language of survival, and a metaphor for the photograph itself; images whose language exists as a reference to an other, and altogether dissimilar, thing. The butterfly wears images of its possible predator, who sees only itself when gazing upon its would-be prey. Used in a manner to capture visual discomposure, the camera plays a speculative role lying between perception, self-recognition, and mimicry. Finding beauty in a language of misrepresentation, the work reveals the nature of the medium through which it speaks.

-ro

From Is the Eye I Am Seen As Is the Eye I See Myself Through, 2025, printed on archival rag, framed with welded aluminum and optimum acrylic glazing, 13.25 x 16.75 x 1 in.

Assaf Evron (b. 1977, Israel) is an artist and educator based in Chicago. He received a BA from Tel Aviv University in 2007, and his MFA from the School of the Art Institute of Chicago in 2013 in Photography. He continued his education with a MA in 2017 from The Cohn Institute for the History and Philosophy of Science and Ideas at Tel-Aviv University. Evron’s work investigates the nature of vision and the ways in which it is reflected in socially constructed structures, where he applies photographic thinking to two and three-dimensional media. Collapsing the relationship between culture and nature, his work takes a critical eye on language, experience, and geology with a sense of loss and melancholy emanating from the Anthropocene. His work has been exhibited in galleries and museums internationally including The Museum for Contemporary Art in Chicago, Crystal Bridges Museum for American Art and The Israel Museum in Jerusalem among others. Recent Solo and Two-Person exhibitions include David Slain Creative (Chicago), Arts Club of Chicago (Chicago), S.R. Crow Hall (Chicago), Center for Digital Art (Holon), MCA (Chicago), Elmhurst Art Museum (Illinois), Neubauer Collegium (Chicago), Chicago Architecture Biennial (Chicago), Andrew Rafacz Gallery (Chicago), Haifa Museum for Art (Haifa), Habres + Partner Galerie (Vienna), and The Heder Contemporary Art (Tel Aviv). Selected Group Exhibitions include Gwangju Biennial (South Korea), Julius Caesar (Chicago), Fosdick-Nelson Gallery (NY), Chicago Manual of Style (Chicago), Crystal Bridges Museum for American Art (Arkansas).

Assaf Evron's "if a butterfly ever saw an owl" at ro art services, installation shot

Inventory

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Madeleine Leplae

Gift

2026

1.725 x 3 x 4 in.

Nail polish on foil, cardboard

Madeleine Leplae

Ribbon 2

1 x 24 in. when flat, size variable

Nail polish on foil

Madeleine Leplae

Ribbon 1

2 x 36 in. when flat, size variable

Nail polish on foil

Madeleine Leplae

Untitled

2026

24.5 x 35.5 x 1 in.

Pencil, gel pen, nail polish, push pins, embossed foil, paper.

Barbara Jenkins

Bounce on it

2026

30 x 32 in.

Oil stick and water color on canvas,

Michelle Grabner

Untitled

2026

19 x 19 x 1 in.

Milk paint on gypsum

Michelle Grabner

Untitled

2026

19.25 x 19.25 x 1 in.

Milk paint on gypsum

Michelle Grabner

Untitled

2026

16 x 12 x 1.25 in.

Milk paint on gypsum

Michelle Grabner

Untitled (2025), Secco Fresco

2026

72 x 42 x 1.5 in.

Milk paint on gypsum

Judy Ledgerwood

Common Time #3

2023

Oil on canvas

Judy Ledgerwood

Common Time #6

2023

16 x 16 x 2.5 in.

Oil on canvas

Judy Ledgerwood

Common Time #2

2023

16 x 16 x 2.5 in.

Oil on canvas

Judy Ledgerwood

Common Time #7

2023

16 x 16 x 2.5 in.

Oil on canvas

Mike Cloud

Portrait of a Adlai Stevenson

2022

20.5 x 19.5 x 2 in.

Acrylic on linen and stretcher bars

Mike Cloud

Israeli intersection Yona, Zefanya

48 x 41 x 4 in.

Oil, acrylic and mixed media on linen, canvas and stretcher bars

Barbara Jenkins

Johnny's gotta know when you're dead, lie down

2026

30 x 32 in.

Oil stick and water color on canvas,

Barbara Jenkins

9 to 5

2026

30 x 32 in.

Oil stick and water color on canvas,

Barbara Jenkins

Out of the Blue

2026

30 x 33 in.

Oil stick and water color on canvas

Barbara Jenkins

Dreamboat

2026

32 x 33 in.

Oil stick and water color on canvas,

Trey Rozelle

Stack of Blue Props #8

2025

66 x 46 x 22 in. as displayed, size variable

Oil on canvas

Jonathan Worcester

Untitled

2025

32 x 18.675 x 2 in.

Acrylic on canvas, artist frame

Jonathan Worcester

Untitled

2026

31.5 x 33.25 x 2.175 in.

Acrylic on panel

Jonathan Worcester

Untitled

2025

28.75 x 18 x 2 in.

Acrylic on panel

Michelle Grabner

Untitled

2026

16.5 x 12 x 1.5 in.

Milk paint on gypsum

Michelle Grabner

Untitled

2026

17 x 11 x 1 in.

Milk paint on gypsum

Michelle Grabner

Untitled

2026

12 x 16 x 1.25 in.

Milk paint on gypsum

Michelle Grabner

Untitled

2026

12 x 16 x 1 in.

Milk paint on gypsum

Michelle Grabner

Untitled

2026

11 x 17 x 1 in.

Milk paint on gypsum

Michelle Grabner

Untitled

2026

11 x 17 x 1 in.

Milk paint on gypsum

Michelle Grabner

Untitled

2026

16 x 12 x 1.5 in.

Milk paint on gypsum

Michelle Grabner

Untitled

2026

15.75 x 11.75 x 1.5 in.

Milk paint on gypsum

Michelle Grabner

Untitled

2026

17 x 11 x 1 in.

Milk paint on gypsum

Dom Smith

Untitled

18 x 25 in.

Oil paint on paper

Dom Smith

Untitled

18 x 25 in.

Oil paint on paper

Dom Smith

Untitled

18 x 25 in.

Oil paint on paper

Dom Smith

Untitled

18 x 25 in.

Oil paint on paper

Dom Smith

Untitled

18 x 25 in.

Oil paint on paper

Dom Smith

Untitled

18 x 25 in.

Oil paint on paper

Dom Smith

Untitled

6 x 8 in.

Crayon and electrostatic print on colored paper

Dom Smith

Untitled

11 x 8.5 in.

Crayon and electrostatic print on paper

Dom Smith

Untitled

12 x 12 x 0.1625 in.

Oil on fabric

Dom Smith

Untitled

12 x 12 x 0.1625 in.

Oil on fabric

Dom Smith

Untitled

12 x 12 x 0.1625 in.

Oil on fabric

Cameron Martin

Integer

2030

20 x 30 x 1 in.

Archival pigment print on metallic rag, artist-cut mat board, unique in a series of 3 variations, framed

Martha Poggioli2

Kircher's Spiral

2030

Patinated brass

Martha Poggioli2

Kircher's Spiral2

2030

Patinated brass

Cameron Martin

Motile

2019

40 x 30 in.

Acylic on canvas

Cameron Martin

Margin

2019

20 x 16 in.

Acrylic on linen

Cameron Martin

Integer

30 x 24 in.

Integer

Martha Poggioli2

Kircher's Spiral1

2024-25,

Patinated brass

Dom Smith

Untitled

Patinated brass

Dom Smith

Untitled

2025,

7 x 16.5 in.

Patinated brass

Dom Smith

Untitled

2025,

10 x 23 in.

Patinated brass

Dom Smith

Untitled

2025,

8.5 x 23.5 in

Patinated brass

Dom Smith

Untitled

2025,

9 x 23.5 in

Patinated brass

Dom Smith

Untitled

2025,

6.5 x 24 in.

Patinated brass

Dom Smith

Untitled

Patinated brass

Dom Smith

Untitled

Patinated brass

Chris Meerdo

Infinite Cop Glitch

2026,

LCD security monitor, media player, wall mount arm, custom trained GAN model - 1 hour loop, edition 1/3 + 1AP

Dom Smith

Untitled

2025,

9 x 24 in.

Patinated brass

Kari Cholnoky

Fear Machine

2026,

17 x 50 x 10 in.

Faux fur, acrylic, collage, paper pulp, wire, mesh, steel, enamel

Josh Reames

Doing My Best

2025,

24 x 30 in.

oil, acrylic, enamel, 30-30 calibre holes, decals on custom street sign

David Legget

Every closed eye ain't asleep

2026,

30 x 30 in.

Acrylic and collage on canvas

Josiah Ellner

The Wishing Blade

2026,

20 x 68 in.

Oil on canvas

Assaf Evron

Untitled

2008-2015,

24.5 x 14.25 in. together, 11.25 x 14.25 in. each

Silver gelatin print, mat board, 14.25 in. x 11.25 in. welded aluminum frame with Optimum acrylic glazing. Each photo is 1st edition of 3, with both works presented in unique configuration.