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april - may

available works



induction gallery is pleased to present an online viewing room of works currently installed in the gallery’s viewing rooms. our april-may selection features works by jake ziemann, jacob barri, sarah rose niemiec, alex ehmer, and luis miguel anaya. 

induction gallery is also thrilled to highlight works by new york-based artists lou neyland and margaret maclean, in advance of their respective solo exhibitions at the gallery later this year.






jake ziemann, crying diamonds like a river inside, 2021

fueled by themes of intimacy, gender, and sexuality, jake ziemann’s sculptures balance bodily shapes with everyday objects and industrial support. through material dualities and formal gestures, his work blends notions of stability and vulnerability, the found and the handmade, and the abstract and the figurative.

the painterly ceramic forms in ziemann’s sculptures drip, slump, fold, lean, and fracture as they physically interact with their components, the connections between which allude to a longing for permanence and structure. using materials suggestive of the artist’s studio and construction, the work is rooted in the process of building, reflecting the labor involved in developing relationships with friends, lovers, and the world around him.

projecting a sense of prideful awkwardness, the sculptures act as both static, fetishized objects and stand-ins for emotive bodies, exuding individual or collective presences.






installation view



















alex ehmer, spine, 2026

alex ehmer, hungry, 2026






alex ehmer is a mixed-media artist whose practice intertwines material experimentation with investigations into non-traditional objects and forms. working primarily with latex, wax, clay, and sourced or discarded materials, ehmer draws from concepts of the readymade to challenge conventional distinctions of what is considered art. 

informed by psychological, medical, and sociological frameworks, the work navigates intersections of personal memory and dialogue, using material to examine how lived experience is constructed, processed, and externalized.

central to ehmer’s practice are themes of discardment, repair, and recovery, explored through processes that evoke both care and damage. clinical aesthetics and material transformations situate the work within a space where bodily experience and institutional commentary overlap, raising questions of vulnerability, control, and preservation. 

viewer engagement plays a key role, often incorporating participatory or time-based elements that unfold through interaction or observation, implicating audiences in processes that may elicit discomfort, curiosity, or hesitation.
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installation view




alex ehmer, gnaw, 2026

luis miguel anaya, goodbye yesterday, detail, 2026
luis miguel anaya is a mexico-born los-angeles based artist whose paintings capture moments and slivers of time no one else sees—the private glance in the mirror when you’re at your most vulnerable, the contemplative state one finds themselves in as they gaze out a bedroom window, the sudden awareness of time passing. his work inhabits the threshold between feeling and form, tracing interior life rarely spoken aloud.
installation view
jacob barri’s work is driven by ideas tied to homoeroticism, queer histories, how authenticity emerges through performance, and how capitalism has made queer culture more famous than any queer person. through installation, found imagery, traditional photography, and alternative printing processes, the artist investigates these concepts. though positioned as the photographer, the artist acknowledges how subjects, either himself or others, actively shape the work through their own contributions of gesture, costume, or presence.
jacob barri, Self Actualization in the Age of Man #2, 2025


jacob barri, Key to the Castle, 2026
sarah rose niemiec's paintings find poetry in the quietly observed corners of everyday life. working with a flattened and matte sensibility the artist renders the everyday and natural landscape with equal parts precision and stillness. with a controled and vivid palette—the electric teal of a prickly pear pad, the dusty pink blossoms of a jacaranda against a still sky—niemiec’s paintings draw upon nostaligia and memory, of time and place, of happenstance. 

niemiec’s practice evolves in closely looking and genuine affection for the fleeting moment—the places people pass through, mark, and call home.






sarah rose niemiec, cactus (hollywood), 2022
sarah rose niemiec, pink house, 2025

margaret maclean paints from a state between waking life and dreams—a world of bodily urgency, yet perpetually slipping in and out of focus. the artist’s gestural hand, the fluidity in working with oil, maclean conjures figures that are recognizably human but never quite stable: flesh merging into atmosphere, faces and expressions half-formed, identities in flux. 

through a confidence, oddity, and sense of restless energy, margaret maclean strips her palette to mimic atmospheric and psychologically loaded states of mind; immersive, slightly toxic, and alive. there is a tenderness, a refusal, and uncertainty that finds its way to the surface in maclean’s paintings—one of its own truth and understanding.
    margaret maclean, picnic, 2020
margaret maclean, it’s been 100 years, 2021
margaret maclean, opening a sarcophagus, 2020

lou neyland’s paintings are simulatenously maximal perceptual overload and a calm before a storm; a duality and focus that lives inside. using architecture, light, and shadow work to conspire and produce moments of abstracted memory, grids glide across in the canvas, falling at competing angles, inviting the eye into disorientation and conflict—in the best possible way.

built up from overlapping networks of translucent colors, and applied in layers that accumulate much like light itself, neyland seems less interested in depicting a specific place, but rather, interested in capturing the optical experience of it. small punctuations of vividness appear like accidents, anchoring the composition just enough to keep it from fully dissolving. what emerges is painting that sits comfortably between representation and abstraction, between order and entropy. neyland's work asks what it means to investigate at the spaces we move through daily—suggesting that if you look long enough, even a patch of shadow, or fleeting memory of it, becomes something to marvel upon.
lou neyland, inner temple, 2026