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carom carom . Lindsey Harald-Wong | Solomon Rousseau. January 10 - March 01, 2026. Winter. Dual.

603 N Western Ave, Los Angeles, CA 90004.

34.08184747711551, -118.30927467084113

[Press Release]

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Sundials—or, on pinning things to themselves

(Sunlight.) What looks like a view turns to a plucked perspective, an impassable viewpoint. With burrow walls above ground. A hole hiding in plain sight like a booby trap. No missteps, or else. Necessary obstacles. Or else a covering space (for a lack of caution). An eclipse not taken at face value. Clenched teeth with an open mouth. A yawn occluded between the gums while the lips stay in place. So much for a single tooth. Bucked and crossed, half signed on the X: \ or /

Overbit with buttresses. How? Carom carom, carambolage. Ricochet for cycling pulse. How come? Drag and overdrive, under pressure: squared discs or flattened pipe. Drainage for steel wool woven unilaterally. Outsides outsized, insides incised. At lightspeed, fastening the gallery to its supports: artwork. Still a gap in gravity, still falling in place.

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BIOS

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Lindsey Harald-Wong (born in Denver, Colorado) is an artist based in Malaysia. She is a former faculty member at Pratt Institute and Parsons School of Design, where she taught drawing. Harald-Wong earned an M.F.A. in Painting and Drawing from Brooklyn College and also studied at the New York Studio School of Painting and Drawing.

Her early work is initially rooted in perception, drawing directly from light and space while operating at the threshold between vision and abstraction. These works frequently engaged still-life motifs—such as flowers—using observation as a means of probing the limits of visibility and form.

Beginning in the early 2000s, Harald-Wong’s practice shifted toward a more direct engagement with the surface itself. Works such as Small Cosmos (2005) and the queen bee (2005), respectively included in exhibitions with Reisig and Taylor Contemporary (Los Angeles) in 2024 and 2026, mark a transitional moment in which perceptual inquiry gives way to a generative, process-driven approach. Here, mark-making becomes autonomous while remaining grounded in the sheer materiality of the work, unfolding at its own pace and according to its own intrinsic logic.

Living in Malaysia, Harald-Wong operates largely ‘outside’ the dominant economic and social circuits of Western contemporary art. Within this relative isolation, she has cultivated a practice shaped by deep time and mysterious forms of her environment. Evolving patiently, but immediately, through sustained attention and repetition, her work develops a cryptic yet immediate visual language composed of frenetic marks and webbed movements, slowly transformed through years of disciplined, meditative making on her own terms.

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Solomon Rousseau is a Jamaican-American artist based in Los Angeles. Working across painting, sculpture, installation, and photography, his practice takes-place through repetition, reduction, and physical processes yielding interstitial and iterative entities. At once primitively elemental and rigorously formal, his works fall from latent material and conceptual residues of Minimalism, Post-Minimalism, Mono-ha, Post-Conceptualism, and Land Art. But his practice also overruns these historical categories/contexts as his works inhabit deep, terrestrial or planetary time along humming tensions between control and impermanence, precision and decay. And, to some extent, his works overrun the context of Art itself by returning to the primordial place between being and becoming (something else): the event horizon of objects, subjects, and things.

His work unfolds as a sustained meditation: a laborious rhythm of destruction and creation that seeks balance between chaos and order, instinct and structure. Rousseau’s process is both alchemical and materialist, joining chance, ambiguity, and indistinction to measured construction through the use of utilitarian industrial materials—raw and refined, organic and synthetic. Materials are not employed to depict (displace or represent) but to disclose and unconceal: elliptically eclipsed surfaces, densities, and resistances become records of touch, gravity, and time.

Though the artist’s hand remains legible, it is deliberately restrained, echoing natural accidents and overlooked phenomena. This often-invisible labor, understood as an existential condition, blurs the boundary between (not-)making and (not-)being. The resulting works exist in suspension between presence and absence, matter and thought. They are not representations but encounters, sustaining a pause within the interval between seeing and feeling, where silence, space, and process emerge as the true medium and primordial material.

Rousseau’s consciously attuned practice has developed along an unconventional path, shaped by autodidactic research and residencies in Sweden, Indonesia, Mexico, Japan, France, and China rather than formal institutional training. Following his first solo exhibition in 2020 at the Bendix Building in Los Angeles, he was stranded abroad during the pandemic and spent two years living in solitude in the Colombian Andes—an experience that further deepened the introspective and material rigor of his work. Since returning to Los Angeles, he has exhibited at Giovanni’s Room (Los Angeles, 2024), Redacted Art Fair (Los Angeles, 2025), and Silke Lindner (New York, 2025). The 2026 exhibition at Reisig and Taylor Contemporary (Los Angeles) is his first dual exhibition.

Ahead and already: Rousseau continues to develop new sculptural series and site-responsive installations, marking the next phase of an evolving practice grounded in material attention, temporal awareness, and the resonance of form as living experience.