ROASTED

A spirited exhibition featuring:

Renee Tay, Peter Wallis, Teresa Watson, and John Rogers

Renee Tay

Renée Tay breathes new life into once-beloved vintage toys, transforming them into captivating works of art destined to be cherished once again.

Her journey into the realm of assemblage sculptures commenced in 2016, swiftly evolving into her artistic passion. Salvaging forgotten treasures such as vintage toys, dolls, figurines, and teapots, Tay meticulously arranges them into intricate compositions using Apoxie Sculpt. She then applies layers of gesso, Valspar, and other materials, culminating in a meticulous process of aging and sealing with a high gloss clear coat, ultimately achieving an enchanting illusion reminiscent of porcelain sculpture.

Renée Tay is a native of San Diego, California, where she was born, raised, and currently resides. Her captivating assemblage sculptures grace esteemed galleries across the United States, including Stranger Factory, Union Gallery NOLA, La Luz De Jesus Gallery, The Hive Gallery, Trash Lamb Gallery, and Parlor Gallery.

Peter Wallis is an interdisciplinary artist based out of Fremont, CA. He has worked with students throughout the country, leading visual arts programs at independent schools and nonprofit arts organizations. In 2006, Wallis received his BFA in Illustration, with a double minor in Art History and Drawing from the Maine College of Art in Portland, ME. In 2010, he received his MFA from Goddard College with a focus on Printmaking, Graphic Novels, and Peace Studies. Wallis served as an artist in residence in 2009, with Can Serrat, an international artist residency located in the Montserrat Mountains of Catalonia, Spain. Wallis’ work has been shown at galleries in the U.S. and Canada. He sees arts education as a catalyst for meaningful change in the world.

Peter Wallis

Teresa Watson

Born and raised in Texas, and educated at Pratt Institute, Teresa Watson, is an illustrator and painter living with schizoaffective disorder. Her comic "Welcome to the Covid-19 Mental Health Struggle" appeared in New York Times.

In addition to Trash Lamb Gallery, Watson has exhibited work at La Luz de Jesus in Los Angeles and Hey There Projects and La Matadora Gallery, in Joshua Tree, and Webb Gallery in Texas. Teresa has also painted numerous pet portrait commissions.

"I try to find humor in life. Because of my struggles with my mental health, my world has always been very chaotic and full of awkward moments. Painting things that don’t belong together makes me laugh, for example a man with a candle on his head, hallucinating looking in the trash while a frog sits nearby playing music. Dissimilar images juxtaposed together create a safe space to process confusing moments or triggering events. Other times I enjoy painting light hearted pictures of cowgirls with flowers or pet portraits which are less personal and just as liberating.”

John Rogers (b. 1984, Harrisburg, PA) is a self-taught artist based in Pittsburgh, Pennsylvania. Operating under the moniker Ghoulorama, Rogers has carved a niche for himself as a DIY artist and art-dealer hybrid, navigating the digital landscape with his Instagram account and web store. Born out of the late-capitalist era, Rogers's art reflects the amalgamation of personal experiences and the digital zeitgeist of the information age.

Rogers's journey as an artist is a testament to resilience and self-discovery. Despite facing setbacks and struggles, including battles with addiction and periods of academic uncertainty, Rogers found solace and purpose in the act of creation. Transitioning from writing to painting in his early twenties, Rogers's work embodies a unique blend of ominous yet humorous commentary on contemporary society.

Inspired by the chaotic and surreal nature of online spaces, Rogers's paintings are a visual exploration of the digital vernacular, where the personal and impersonal intersect in unexpected ways. Through his meticulous process of arranging images, words, and ideas, Rogers crafts artworks that serve as scathing critiques of late-capitalism, infused with gallows humor and a touch of irony.

John Rogers