Gordon Robichaux is pleased to present CUT HERE, a three-person exhibition and installation including artworks by Matt Keegan, Siobhan Liddell, and Frederick Weston.

CUT HERE evokes a clip art image of a dotted line and scissors. The graphic directs a deliberate cut—process made visible—invoking an urgent site of transformation and presence where gesture and material meet. Cutting, tracing, folding, pasting, papering, recontextualizing: each gesture fragments and creates, adds and subtracts, and articulates a new relationship of positive and negative space.

On the outside wall of the gallery hangs a roll of pink seamless backdrop paper with a rectangular shape cut out for the door. Directly across from the opening, the pink paper door hangs on a sheet of propped-up drywall, suggesting an architectural constraint. And another door. The intervention frames the space, the viewer, and the objects within.

Matt Keegan’s color-bright, laser-cut steel sculptures are scaled enlargements of folded, cut, and unfolded paper templates. On one wall, an unframed piece of purple paper—cut with abstract shapes—reveals the intimacy and immediacy of his process. Another work, a piece of cut and bent steel, explodes text and form out into space: a signal composed of yellow and shadows, calling out and repeating "SOS."

Siobhan Liddell transforms humble materials through simple gestures, creating a poetic cosmology of intuition, emotion, and experience made visible with paper, string, sticks, glue, paint, and bamboo. Leaning against the wall, three shapes that resemble waves are teased up on sticks like water by the wind. Nearby, a paper teardrop suspended in space— its form a memory of a balloon filled with water. A cellular, honeycomb form is composed of cut bamboo and marigolds. Each object is both a fragment of a larger world and whole and complete in itself.

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Frederick Weston extracts, categorizes, reproduces, pastes, and transplants images. He organizes them in an elaborate and highly subjective system of binders, plastic sleeves, and boxes. His archive is an image bank of personal and cultural references from which he culls material for his collages. Installed on a shelf, his eight-part work is an elaborate composite of real and fictional identities—identification and idealization—characters developed across the panels and in his related creative writing. In his paper figure, Money Man, images of green bills fill, circulate within, and exceed Weston’s own drawn and cut silhouette—a currency of color and power.

In conjunction with the exhibition, Gordon Robichaux will host ADULT CONTEMPORARY—a mobile reading and performance series curated by Svetlana Kitto and Katherine Brewer Ball—on Sunday, June 4 at 3 pm. The salon-style event will include readings by Matt Keegan, Siobhan Liddell, and Frederick Weston.