Signal Interference

532 Gallery is pleased to announce Signal Interference, a group exhibition featuring new and recent works by Diana Copperwhite, Gustavo Acosta, Amy Hill, Tanja Selzer, and Patrick Neal. Probing the slippery interface between perception, memory, and constructed realities, the exhibition coalesces intimate abstractions and charged figurations to unpack urban decay, digital tensions, and mythic disruptions in an era of perpetual static.

Diana Copperwhite’s small-scale 2025 series anchors the exhibition with her signature temporal flux, layering squeegee drags, impasto builds, and solvent erasures that evoke psychedelic memory fragments. Her work nods to Abstract Expressionist autonomy—recalling the gestural urgency of Joan Mitchell and Willem de Kooning—while infusing a distinctly digital-poetic edge.

Gustavo Acosta presents five small paintings from his Intimate Portrait series (2025) alongside the larger The Waterfall’s Manifesto (2022). Transforming bleak cityscapes into subtle rebellions against perceptual numbness, Acosta blends photoreal precision with raw, deliberate drips that recall mid-century modernism. The intimate portraits deliver intellectual bite amid visual poetry, noted by critic Donald Kuspit for their defiant flashes of color. The manifesto painting offers a counterpoint, depicting a young figure within an elemental landscape charged by contemporary fragility.

Amy Hill introduces a figurative subversion, reimagining Venice’s tourist vistas through a Flemish Renaissance lens infused with Botticelli’s ethereal grace. Her oil paintings juxtapose historical rigidity—evoking Van Eyck’s domestic precision—with contemporary leisure poses, creating tensions between art-historical gravitas and modern spectacle. Hill’s work bridges past and present, offering updated classics that interrogate how cultural memory persists within modern leisure economies.

Tanja Selzer’s Afternoon series expands the exhibition’s psychological terrain through voyeuristic scenarios that blur observation and intrusion. Her ambiguous figurations probe the social consequences embedded in everyday encounters, aligning with the exhibition’s investigation of constructed realities and unstable signals.

Patrick Neal rounds out the dialogue with two watercolors on paper mounted on panel from 2025. Drawing from everyday environments, Neal abstracts psychological and formal tensions through a roving grid that organizes while disrupting perception. In scenes drawn from gardens and ponds, organic forms become symbols of resilience within constructed systems, where memory and imagination blur boundaries of place and identity.