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ro art services and P.A.D. co-presenting at NADA NY
May 13 - 17 at Starrett-Lehigh Building, NY, NY
Viewing room available here.
P.A.D. and ro art services are delighted to share Nature Sport. Contemplating our daily interactions with nature, P.A.D. and ro art services present the work of Chang Sujung and Assaf Evron in Booth E1 and Martha Poggioli through the Sculpture Program for NADA New York 2026.
Chang Sujung offers colorful, plein-air daydreams from Central Park—watercolors painted on the inside of shirt cuffs—as a glimpse into the mind of a midtown office worker. Assaf Evron shares portraits of birds, butterflies, caves and sea cucumbers collapsing the language of photography. Martha Poggioli presents Kircher’s Spiral, a sculpture inspired by a 17th century writing on the structures of the inner ear.
Chang Sujung's Observer 17, shown open and closed. Water color, cotton, and button.
"The new body of work for this show was made from June 2024 to March 2025. There were a couple of months during this time that I didn’t go outside, due either to unhelpful weather or personal problems. Otherwise, I followed a strict regimen from shopping for cotton at the fabric store in Midtown Manhattan then going to my studio in Ridgewood, Queens to sew the shirt cuffs to packing my watercolor gear, going to Central Park, and finding a good spot to sit and paint. I am uncertain whether it was my own escapism or if it was through observing people on an unending list of different jobs every day in Midtown that triggered me to make work out in public in Central Park. Either way, the act became my own form of ‘remote work’ like so many of those same people do now for part of their week.
There was a time in 19C when the practice of using shirt cuffs as note paper was widespread. New white-collar workers needed disposable cuffs to maintain a clean look because laundering was not easily attainable. They used those cuffs to write brief personal notes and letters. I think there is a sense of secrecy and mischief in this practice, heightened by the rolled-up shape of cuffs. Making plein air watercolors in the park gave me a pleasant tingling sensation like I get from eavesdropping. Perhaps, that was what kept me going."
-Chang Sujung on the series Alterations
Assaf Evron's Untitled, silver gelatin print and welded aluminum frame with Optimum acrylic glazing, 11.25 x 14.25 in. each, 25 x 14.25 in. as a diptych.
Assaf will be sharing works from 3 series of works, each focusing on subjects poorly suited for the traditional expectations for photography. The seagulls were chosen as a subject in 2008 for their "third eye" spot on the back of their head. While the false eye would never cause confusion for human eyesight, predators become tricked by the black spot and cannot discern where the bird is looking. To recreate that confusion, Evron created the black and white silver gelatin prints with extreme contrast, whose fractured value scale produces photographs recreating the third-eye effect for viewers.
Evron's most recent series in the collection was inspiration for his solo show in the East Village If a butterfly ever saw an owl. Taken at a conservatory in Germany, the photographs subvert technical traditions of photography to mirror the disguise of butterflies. Extreme focal ranges subvert the traditional technical aspirations for an image's legibility, instead collapsing photographic representation with a subject of illusion. The series reveals the nature of photography as a medium through which it speaks by confronting the viewer with what-we-know to be true and what-we-see them to look like.
Wearing the eyes of an owl on its wings, the owl butterfly becomes metaphor for the camera and photograph. The owl's visage adorning the butterfly's wings is not a visual language read by a butterfly, rather the image's legibility relies on the gaze of an other. The disguise is not merely an illusion, but also the suggestion of an encounter and questions. Does an owl recognizes itself in the wings of a butterfly? Does a butterfly see itself in the eyes of an owl? The questions propose the butterfly's position lying between perception, self-recognition, and mimicry. Much like the camera, the butterfly's role is speculative.
If a butterfly ever saw an owl, 2025, Archival pigment print, mat board, edition 1 of 3, welded aluminum frame with Optimum acrylic glazing, 13.25 x 16.75 in.
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Detail of Assaf Evron's I want to believe sea cucumbers are happy (P8170080), 205 digital silver gelatin print.
Evron captured the images for I Want to Believe Sea Cucumbers Are Happy during dives in the Red Sea using an assortment of cameras including a GoPro. The intimate encounters with sea cucumbers capture a creature living in an environment without gravity, but whose life remains 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.
Personal rhythm in an impersonal cadence, 2024, Archival pigment print on metallic rag, artist-cut mat board, unique in a series of 3 variations, framed, 20.25 x 24.25 in.
Preceding his study of sea cucumbers, Evron's "The Anonymous Shapes of Words" began during COVID. Finding comfort in isolation, he took up caving as an intimate experience with nature. The sentimentality expressed by his search evolved into a photographic series while spelunking through the Midwest, producing vulnerable portraits of the American landscape through its interior forms. A subject carved by millions of years of geological activity, caves not only exist on a scale far-longer than human history, but are also the oldest known exhibition spaces for human art. Challenging the photograph's ability to construct representation through legible illusions, the works combine subject, environment and practice to create cryptic depictions of gravity and form, constructing spaces where culture, nature, and legibility collapse into abstraction.
Martha Poggioli's Kircher's Spiral, 2025, Patinated brass and stainless steel. The brass sculpture is 13 x 13 x 21 inches and polished stainless steel base is 17 x 25 x 10 inches.
Kircher's Spiral represents a unique work for the artist in scale, material and ambition of presentation. The patinated brass sculpture is 13 x 13 x 21 inches and polished stainless steel base is 17 x 25 x 10 inches.
Poggioli's preceding works came from research into the history of IUDs and medical industry's patents around female reproduction. The multi-year project began with a residency at SPACES in collaboration with Dittrick Medical History Center in Cleveland, followed by Kohler Arts/Industry Foundry Residency and in 2020 and 2024. Kircher's Spiral was cast during her residency in 2024, and first presented with a different pedestal in 2025 at the Fine Art Centre in Colorado Springs. The piece has since been re-patinated and paired with a stainless steel base.
Kircher's Spiral continues Poggioli's combining of industrially fabricated sculptural forms inspired by scientific inquiries. The work is inspired by a device by the same name, depicted in drawings from Athanasius Kircher's Musurgia Universalis 15th century text on sound, acoustics and architecture. Kircher proposes the spiral structure to be set inside architectural spaces or even as hand held devices, suggesting them as useful for thieves or "eavesdroppers" (possibly the origin of the word). Poggioli on the work:
"Earlier in the text [Kircher] studies human anatomy - at least assumptions of anatomy at the time - and seems to draw connections between spiral forms in the body (such as the cochlear) and their ability to potentially generate or transmit sound. I think it's ... interesting as a metaphor for surveillance - particularly as it relates to medical surveillance and architectural surveillance - two phenomena which exist at different scales but potential operate through similar structures."
Chang Sujung lives and works in New York City. Chang was born in Seoul, South Korea, and moved to the US in 2014. She received her MFA from Hunter College in 2017 and BFA from Ewha Womans University, Seoul, South Korea, in 2013. Her recent solo and two-person exhibitions include Alteration, Laura (the Gallery), Houston (2025), Detour: cul-de-sac, International Waters, New York (2022), 88.61 lbs, Hesse Flatow, New York (2020), and Beginningless sky, Endless ground, Jungganjijeom, Seoul (2019). Her work has been shown in several group exhibitions including Marinaro, New York, 56 Henry, New York, A.I.R Gallery, New York, International Objects, New York, Helena Anrather, New York, Yeh Art Gallery, St. Johns University, New York, The Richard and Dolly Maass Gallery, Purchase College, New York, Galerie Christine Mayer, Munich, Bertha and Karl Leubsdorf Gallery, New York, Ilmin Museum of Art, Seoul, and others. She has participated in residencies at Carving Studio and Sculpture Center, Vermont (2022), BRIClab: Bridge Space, New York (2021-2022), Hercules Art Studio Program, New York (2018-2021), the Wassaic Artist Residency, New York (2017) and the Skowhegan School of Painting and Sculpture, Maine (2017). Chang is her last name and Sujung is her first name. 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 challenges the nature of vision by revealing the cultural structures influencing its construction. Applying photographic thinking to two and three-dimensional media, his work collapses the relationship between culture and nature. He 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 ro art services (New York City), 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), and Habres + Partner Galerie (Vienna). 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). Martha Poggioli (b. 1988, Brisbane) is an Australian artist and educator living and working in the US and Paris. Receiving a BFA from Queensland University of Technology in 2009, Poggioli went on to achieve an MFA from the School of the Art Institute of Chicago in 2019. Her Solo and Two-Person exhibitions include Colorado Springs Fine Art Centre (Colorado), John Michael Kohler Arts Centre (Sheboygan, WI), AddsDonna (Chicago), Julius Caesar (Chicago), SPACES (Cleveland) and Extase (Chicago). Selected Group Exhibitions include Houston Centre for Contemporary Craft (Houston), ro art services (New York City & Chicago), John Michael Kohler Arts Centre (Sheboygan, WI), Soloway Gallery (Brooklyn), RainRain (New York City), Rochester Museum of Contemporary Art (NY), Haynes Court (Chicago), Winberg-Newton (Chicago), Bill & Melinda Gates Foundation Discovery Center (Seattle), Rhona Hoffman Gallery (Chicago), MassArt Art Museum (Boston), Mütter Museum (Philadelphia, PA), Kunstgewerbemuseum (Dresden, DE), RMIT Design Hub (Melbourne), Wyndham Art Gallery (Melbourne). Residencies include Sharpe-Walentas Studio Program, Kohler Arts/Industry Residency, SPACES Artist-in Residence in partnership with Dittrick medical History Centre & think[box] at Case Western Reserve University, LeRoy Neiman Foundation Ox-Bow Fellowship, Australian Tapestry Workshop & NEWINC.
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