Strange beauty, oddly available.
First Ever studio sale Project Fundraiser
A major new work is quietly underway for a 2027 debut, and to help bring its technological and musical wonder to life, Tingleguts is opening the stash with a rare release of exhibited and process-rich works at unusually generous prices.
Gently Exhibited Works On Paper
Love letters (small)
Installation views from Misfits, curated by Marianna Peragallo and presented at the SVA Flatiron Gallery from December 7, 2021 to January 6, 2022, show Love Letters (Small) as it was meant to be encountered: not as a fixed arrangement, but as a living, shifting pile open to touch, chance, and rearrangement. Included alongside work by Anna Amato, Ailyn Lee, Se Young Yim, and Yirui Jia, the pieces were installed to be handled, sorted through, and left in whatever state visitors created, allowing the work’s intimacy and disorder to become part of the exhibition itself.
introducing
Love Letters (Small)
Chance Portfolios
15 carefully curated collections each including 12 exhibited works and 5 source drawings.
studio sale / exhibited works on paper
Love letters (small)
chance portfolios 1-15
Each Chance Portfolio Includes: 12 two-sided mixed media Love Letters (Small) (12” x 9”) and 5 source drawings from the series.
Chance Portfolios gather Love Letters (Small) into intimate, one-of-a-kind sets made for discovery. Each portfolio contains twelve (12) double-sided mixed media works on tracing paper and five (5) related drawings on paper that served as source material for the series but were never crumpled or run through the press. Fifteen (15) sets exist in total, with the first six offered now at an introductory price of $555.55. Some works included are not shown anywhere in the photography here, including the large image grid, making each portfolio a genuine chance encounter shaped by process, variation, and surprise.
12 x 9 inches each, mixed media and ink on tracing paper, 2020–2022
A first-ever collector release from Tingleguts: 17 original works on tracing paper, including 12 mixed media Love Letters and 5 source drawings from the series’ earliest phase. Each portfolio is assembled after purchase from the remaining studio inventory and balanced for color, rhythm, translucency, and surprise. First exhibited in Misfits at Flatiron Gallery in Chelsea, New York, these works were made to be handled, shuffled, stacked, and held to the light. Their layered marks, folds, and transparent surfaces create a vivid, tactile experience of wrapping, unwrapping, chance, and accumulated touch. This limited studio sale helps fund a secret new high-tech project now underway in our NYC studio and scheduled to surface in 2027.
12 x 9 inches each, mixed media and ink on tracing paper, 2020–2022
A first-ever collector release from Tingleguts: 17 original works on tracing paper, including 12 mixed media Love Letters and 5 source drawings from the series’ earliest phase. Each portfolio is assembled after purchase from the remaining studio inventory and balanced for color, rhythm, translucency, and surprise. First exhibited in Misfits at Flatiron Gallery in Chelsea, New York, these works were made to be handled, shuffled, stacked, and held to the light. Their layered marks, folds, and transparent surfaces create a vivid, tactile experience of wrapping, unwrapping, chance, and accumulated touch. This limited studio sale helps fund a secret new high-tech project now underway in our NYC studio and scheduled to surface in 2027.
12 x 9 inches each, mixed media and ink on tracing paper, 2020–2022
A first-ever collector release from Tingleguts: 17 original works on tracing paper, including 12 mixed media Love Letters and 5 source drawings from the series’ earliest phase. Each portfolio is assembled after purchase from the remaining studio inventory and balanced for color, rhythm, translucency, and surprise. First exhibited in Misfits at Flatiron Gallery in Chelsea, New York, these works were made to be handled, shuffled, stacked, and held to the light. Their layered marks, folds, and transparent surfaces create a vivid, tactile experience of wrapping, unwrapping, chance, and accumulated touch. This limited studio sale helps fund a secret new high-tech project now underway in our NYC studio and scheduled to surface in 2027.
12 x 9 inches each, mixed media and ink on tracing paper, 2020–2022
A first-ever collector release from Tingleguts: 17 original works on tracing paper, including 12 mixed media Love Letters and 5 source drawings from the series’ earliest phase. Each portfolio is assembled after purchase from the remaining studio inventory and balanced for color, rhythm, translucency, and surprise. First exhibited in Misfits at Flatiron Gallery in Chelsea, New York, these works were made to be handled, shuffled, stacked, and held to the light. Their layered marks, folds, and transparent surfaces create a vivid, tactile experience of wrapping, unwrapping, chance, and accumulated touch. This limited studio sale helps fund a secret new high-tech project now underway in our NYC studio and scheduled to surface in 2027.
12 x 9 inches each, mixed media and ink on tracing paper, 2020–2022
A first-ever collector release from Tingleguts: 17 original works on tracing paper, including 12 mixed media Love Letters and 5 source drawings from the series’ earliest phase. Each portfolio is assembled after purchase from the remaining studio inventory and balanced for color, rhythm, translucency, and surprise. First exhibited in Misfits at Flatiron Gallery in Chelsea, New York, these works were made to be handled, shuffled, stacked, and held to the light. Their layered marks, folds, and transparent surfaces create a vivid, tactile experience of wrapping, unwrapping, chance, and accumulated touch. This limited studio sale helps fund a secret new high-tech project now underway in our NYC studio and scheduled to surface in 2027.
12 x 9 inches each, mixed media and ink on tracing paper, 2020–2022
A first-ever collector release from Tingleguts: 17 original works on tracing paper, including 12 mixed media Love Letters and 5 source drawings from the series’ earliest phase. Each portfolio is assembled after purchase from the remaining studio inventory and balanced for color, rhythm, translucency, and surprise. First exhibited in Misfits at Flatiron Gallery in Chelsea, New York, these works were made to be handled, shuffled, stacked, and held to the light. Their layered marks, folds, and transparent surfaces create a vivid, tactile experience of wrapping, unwrapping, chance, and accumulated touch. This limited studio sale helps fund a secret new high-tech project now underway in our NYC studio and scheduled to surface in 2027.
“Must See Painting”
New American Paintings
These paintings were last seen together in Tingleguts at Project 4 in Washington, D.C., on view from February 15 through March 15, 2014. In his March 8, 2014 review for The Washington Post, Mark Jenkins described the work as “playfully un-painterly,” noting paintings “thickly layered with pigment but then excavated with a sander.” The exhibition was also included in New American Paintings’ “Must See Painting Shows: March.”
That history matters here, but not because these works are being preserved in amber. The sanding, layering, cutting-back, and building-again is the point. Reuse, risk, abrasion, salvage, and chance have always been part of the language of the work, so this sale opens a real threshold: what leaves the studio now remains intact, and what stays may become material for what comes next.
There is something essential to that wager. Even works once exhibited, reviewed, and singled out as must-see are not exempt from transformation. They remain alive inside the studio’s economy of revision, where paintings are not endpoints but foundations—waiting, by chance, to be collected, remade, or made to sing.
Any Future Strata painting not placed through the studio sale may be pulled back into process—layered over, sanded down again, and absorbed into a new body of work now quietly underway for a 2027 debut. In that next chapter, some paintings will also be fitted with transducers, turning their surfaces into speakers: paintings that do not merely picture accumulated time, but begin to sound it.
“Playfully
un-painterly.”
Mark Jenkins | The Washington Post
In The Studio 2026
studio sale
Future strata no. 12
48” x 24” Oil and enamel on plywood
Future Strata No. 12 burns hot and strange — a painting that feels less composed than ignited. Fluorescent oranges, saturated pinks, acidic yellows, and submerged blues move across the panel like heat, velocity, and memory colliding in real time. Built through months of layering and then sanded back to a smooth, durable skin, it holds older structures just beneath the surface, so the painting seems to pulse between eruption and control. In bright light it becomes especially alive, revealing the depth, translucency, and buried history that photographs can only partly catch.
studio sale / watercolor on paper
Liquid dance dance
24” x 18” Watercolor on heavyweight cold press paper
These watercolors move like songs without words—buoyant, pulsing, and full of poetic turns. Color slips, pools, and rises into compositions that feel improvised yet strangely precise.
Watercolor on heavyweight cold press paper. Approximately 24 by 18 inches.
Liquid Dance Dance is a series of watercolors that lets color behave like weather, choreography, and spill all at once. Shapes gather, drift, collide, and dissolve across the page, holding a strange balance between delicacy and unruliness. Each work feels caught in motion—part atmosphere, part body, part event.
These paintings embrace watercolor for what it does best: staining, blooming, pooling, and leaving behind evidence of time, pressure, and touch. The result is a group of works that feel simultaneously playful and searching, intimate and electric.
Watercolor on heavyweight cold press paper. Approximately 24 by 18 inches.
In Liquid Dance Dance, watercolor becomes a record of motion. Pigment spreads, settles, and redirects itself in shifting layers that suggest dance, weather, erosion, and improvisation all at once. The works move between control and surrender, allowing the medium’s own behavior to help shape the image.
Each painting is both tender and alive with energy, holding onto accident as a vital part of its structure. Together, the series offers a fluid counterpart to the more excavated and heavily built surfaces found elsewhere in the studio practice.
Watercolor on heavyweight cold press paper. Approximately 24 by 18 inches.
Liquid Dance Dance gathers watercolor into a space of movement, seepage, and transformation. Color glides, pools, and breaks apart, creating compositions that feel lyrical, unstable, and quietly ecstatic. These works invite close looking, where soft transitions and unexpected edges reveal a constant negotiation between intention and flow.
Light on the surface but emotionally dense, the paintings carry a sense of improvisation that remains visible in every stain and shift of pigment.
Watercolor on heavyweight cold press paper. Approximately 24 by 18 inches.
These watercolors are part of Liquid Dance Dance, a series shaped by motion, translucency, and the unpredictable intelligence of water and pigment. Forms emerge through drift, overlap, and release, producing images that feel at once bodily, atmospheric, and abstract.
Rather than resisting accident, the works collaborate with it. What remains on the page is a record of touch, timing, and response—paintings that seem to keep moving even while still.
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