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What has surprised you the most since moving back? PA: I know. Has it really been 20 years? Dallas has grown so much over the past two decades in more ways than one. When we both left in the very early s, there was no Dallas Art Fair, and there were only a handful of galleries. The landscape has changed a lot since then, with local institutions like The Warehouse and, to expand the creative map a bit, with West Corsicana.

How did your time living in Asia influence your vision for your own program? PA: My gallery program generally focuses on artists from the Asia Pacific region, but this is not exclusive. In my time working in two very different parts of the art industry—journalism and the commercial space—I got to meet and hear from so many talented emerging artists.

In opening Peter Augustus, I wanted to give these creatives a platform and a place to showcase their works internationally. I view it as a partnership in helping to curate and translate their vision to a new audience. DL: As many of the artists you have shown live in Asia, I imagine it has been hard not being able to travel due to pandemic restrictions. Are you growing tired of virtual studio visits? PA: I loathe virtual meetings.

I do have a trip to Japan on hold for later this year in hopes that the travel restrictions are lifted! DL: Can you tell me a little bit about Ryo Nishimura, the next artist you will be exhibiting at the gallery in September? PA: Ryo is an amazing young Japanese artist whose work I actually collected prior to opening my gallery. He is primarily a printmaker, specializing in drypoint etching, but he is taking this traditional Japanese printing technique to a different level by modernizing the process.

A lot of his work centers on live scenes from nature, often clouds, water, or flora. While drypoint is normally done on copper plates, Ryo takes framed sheets of thick plexiglass out to fields or lakes and traces the detail with power tools and other traditional objects. After applying ink and running it through a copper press, the result is a large-format monoprint on paper with the most intricate and velvety texture I have ever seen.

DL: Ryo will actually be in Dallas for the show, right? PA: Yes, Ryo will be in town for a few weeks this summer in the leadup to his opening. We are working with TCU, and he will be doing a lecture and demonstration of his printing methods at the university for their printmaking students as well as making art there. They have a stellar printing facility. I am excited that a majority of the work being exhibited will be made right here in North Texas.

DL: Since opening the gallery in , you have already participated in three art fairs, put on seven exhibitions, and moved to a new space in the Design District. So much has happened in such a short period of time! PA: It has been a full-on first year and a half for sure. Courtesy of the artist.

Photograph by Ron Blunt. Here, Chris Byrne shares a recent interview with Patron. Was this due to your schedule? I have a lot of new projects that are taking up most of my energy these days. LA: I have nothing against institutions.

I work with them often in many different ways. And I think that seems pretty clear in The Weather, which is stories in various forms: film, sculpture, drawings, paintings, and music. Pretty standard art forms really. As soon as politicians recognized that telling stories—and having them actually believed to the point of fighting for them—is where the power really lies, this country has been torn apart by stories.

Each side is fully convinced that their version is the only way to see the world. As a storyteller, this is a deep, wild, and treacherous thing to learn. It somehow sounds so utilitarian and formal. I took violin lessons from the age of five and was not a particularly good student. I was afraid of my first teacher, who threatened to attach nails to the fingerboard so I would cut myself when I played out of tune. Even though I found it hard to picture an instrument of torture and music, the idea of this still made me shake when I walked into his dark little studio, unpacked my violin, and started to play out of tune yet again.

Photograph by Jason Stern. CB: And you became friends with the composer John Cage? LA: I interviewed him for Tricycle magazine. According to his theory, when a black hole implodes, all the information about the objects that have disappeared begins to skid down an infinitely long tunnel.

All those numbers and calculations and deviations are swirling around in a huge whirlwind. So here are the questions: Is time long? Or is it wide? Are things getting better or are they getting worse? Can we start all over again?

You know, I did an interview with John Cage, and I spent some time with him, and I noticed that he seemed to be such a happy guy. And then, on the other hand, according to Richard Dawkins there are some problems with this—for example it would have been a great thing if fire-breathing animals had evolved. I mean this would have been a very convenient thing just—wwwff!

Much better. LA: Yes. He made some big stretchers for me and handed me some brushes and more or less commanded me to make a painting. Are you focusing on portraits? LA: I was planning on making portraits but have shifted to bigger, more abstract things.

I like to have the feeling of improv that I sometimes have in music. CB: What upcoming projects can we look forward to? LA: These are shifting all the time right now. Eighty countries participated this year, each sending to its Venice pavilion the best art in the land. Simone Leigh fills the US pavilion. Her exhibition, called Sovereignty, deploys superbly crafted bronze and ceramic sculpture to revisit old forms like clay jugs used by Southern slaves, African tribal headdresses and masks, and African raffia skirts.

Sentinel, a sleek, foot-tall bronze sculpture, draws from old African power figures. Leigh covered the American pavilion building, which normally looks like Monticello, with thatch, so it now looks like an African hut. The Milk of Dreams, showing the work of over artists, impressively looks at surrealism past and present. Photograph by Marco Cappelletti. Courtesy of La Biennale di Venezia. Feeling Her Way is a music-and-art take on why Black women artists have gotten short shrift in Britain.

Walls are plastered with old CD and album covers, all by Black women performers and most bearing discount price stickers. Boyce says she discovered her artistic chops through pop music, so the galleries feel like shrines. Also, extensive concert footage by Black performers makes her space feel like a documentary rather than art.

Ayman Baalbaki did an expansive installation of battered, neon-lit street signs, torn textiles and posters, and blood-red splattered paint. Luxuriously painted dishes, animal, vegetal, and human forms, and a porcelain bed, evoke the free spirit of one of the pair, Californian Melissa Braden. Color and whimsy at home helped make life bearable. Is the subject the end of myth? Is home no longer safe from an upheaved world? Norway, Sweden, and Finland together gave their pavilion rights to this indigenous people living in the northern swath of these three countries.

The locals believe in tried-and-true sustainability, especially when it comes to their reindeer, woods, and rivers. The pavilion, a first for the Sami, introduces us to their art and culture. Pavilion of Latvia, Skuja Braden, Selling Water by the River installation view , , porcelain, mixed media, size variable.

Courtesy of Keijsers Koning. Photograph by Kevin Todora. Kaloki Nyamai. Courtesy of the artist and Keijsers Koning. Nyamai is repped here locally, and exclusively, stateside , by Keijsers Koning, and the gallery presented his work at the Dallas Art Fair in and He credits his mom with teaching him how to draw and encouraging his pursuit of art wholeheartedly.

In a twist for the artist, the body of works comprising Moments I wished I had explores the terra incognita of his strained relationship with his distant father. Even though my dad is still alive, and we talk once in a while, these are moments that I wish I had with my father.

Photography by Kevin Todora. This is precisely the way Glenn Bonick, owner of Bonick Landscaping, now in its 40th year, envisions each project. But in this case, the landscape is a place to showcase sculpture. The landscape was challenging, as it needed to be a classic space for a changing and ever-expanding sculpture garden as well as an intimate space for family gatherings. An atypical garden, the design is museum-like visually and in ambiance.

On the front lawn is Vampire by Sterling Ruby, who had a solo show at the Nasher Sculpture Center and creates metal and fiber sculptures that often have a shadowy and sinister undertone while maintaining individual expression and social constraint. On the front porch, a white steel screen with perforated circles offers a peek through to crape myrtle blossoms in the courtyard of crushed basalt.

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