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

Currently on view at 603 N Western Ave, Los Angeles, CA 90004.

34.08184747711551, -118.30927467084113

[Press Release]

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High Noon, low

Once again they all gather to see the pleasure reflected in their faces. They line the avenue at High Noon, low so nobody has the shady excuse of their lamination. The sunlight is falling straight down, pinning things to themselves. No stretching or pointing, only spindled compressions avoiding any edges. So they’re all holding their breath, with shrill gasps breaking their grip once they make a complete revolution. All ventral, they keep turning in place without changing position. Or they’re changing positions without turning a different direction. (They’re disoriented but moving in a straight circle.) They line the street in order but nobody is ever facing the same way. It’s hard to tell if they’re all wearing the same clothes or if it’s too bright to tell. Their paths form parallel lines on either side of the street but each side says a spiral: North, Northeast, East, Southeast, South, Southwest, West, Northwest, Up, Down

, North, Northeast, East, Southeast, South, Southwest, West, Northwest, Up, Down,

and all that’s silage to feed the sill with spilling over:

Mud, Salt Crystals, Rocks, Water. 10 directions, none of them hardly helter. All reversing the noon.

And none in their silos, just rounded-up barely like they wind-up out West. Prodded like a Western.

Like Sun, spur

right-side down ruminants carom carom drunk on any number of grasses while scratching themselves out to pasture with a howl gaped like the lunar symmetry

reflected in their faces, the pleasure reflected in turning away, defected by how their phases are remarked (in front of everyone): eclipsed:

Mud, Salt Crystals, Rocks, Water. Hoof

ungulating approximations of day, accumulations of night

with tumbleweeds counting rags caught with chloroform—the backdraft that feeds the lapping hum of

woof on bone

not making where the waters start panting with the dorsal sound of something 

gathering below the surface above the parasol or pinwheel

Like sun, stream

, a punctured glare with upside-down iridescence—

a plain in flames

, dripping sideways 

, South, Southwest, West, Northwest, Up, Down, North, Northeast, East, Southeast

[Continue reading….]

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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.