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.
Welcome, and thank you for spending time here. Before getting to the artworks offered below as part of the studio sale, I wanted to share some of the history around these works: where they’ve been, how they’ve been encountered, and the exhibition context that shaped them. Think of this section as background—a small opening into the life of the work before it finds its next home. It means a great deal to me to imagine these pieces moving into new hands and continuing to be lived with, revisited, and enjoyed for decades to come.
Gently Exhibited
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.
studio sale exclusive
Love Letters (Small)
Chance Portfolios 1-15
15 carefully curated collections each including 12 exhibited works and 5 source drawings.
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.
“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
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
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.
Have Questions?
We'll review your message and get back to you within 48 hours.
