TEMPEST GALLERY @ ONE EYED STUDIOS:

Tempest Gallery at One Eyed Studios is pleased to present An Interpreted World Is Not a Home, an exhibition bringing together artists who use imagination, mysticism, and visionary reinterpretation to construct alternate realities.

Details

On View: November 15th, 2025 to January 3rd, 2026

Opening Reception: Saturday, November 15th, 6-8pm

TEMPEST Gallery @ ONE EYED STUDIOS

1639 Centre St, Studio 179,

Ridgewood, Queens, 11385.

Enter via Weirfield St

Regular gallery hours are Wednesday-Saturday, 1-6pm. TEMPEST is open to scheduled visits outside of regular hours, please direct message us on Instagram @tempest.gallery

ABOUT THE EXHIBITION

 

Perhaps there are certain ages which do not need truth as much as they need a deepening of the sense of reality, a widening of the imagination. I, for one, do not doubt that the sane view of the world is the true one. But is that what is always wanted, truth? The need for truth is not constant; no more than is the need for repose. An idea which is a distortion may have a greater intellectual thrust than the truth; it may better serve the needs of the spirit, which vary. The truth is balance, but the opposite of truth, which is unbalance, may not be a lie.

-Susan Sontag, Against Interpretation, 1961.

 

An Interpreted World Is Not a Home is inspired by ​​12th c. Benedictine nun, mystic, artist, writer, composer Hildegard of Bingen, who claimed divine visions and inspiration, prophetic ability (she was called the Sibyl of the Rhine) and wrote, painted and composed music feverishly and with utter devotion to creating her own interpretation of the world. “By offering an imagined but persuasive alternative reality,​” as Ursula K. Le Guin wrote, perhaps we can nurture a reparative space for envisioning an alternate future that doesn’t crush us.

ABOUT THE ARTISTS

Emily Carpintero was born in Newark, New Jersey in 1994 and studied for a BFA in Visual Arts at Rutgers University. Carpintero has exhibited work in the US including recent shows at Field Projects Gallery in Chelsea, NY, The Newark Public Library and Halsey Art Center in Newark, NJ, and Mana Contemporary in Chicago, IL. Carpintero has also participated in recent art vendor events at The Newark Museum of Art and 334 Broome Gallery in The Bowery, NY. Her published works include a self-published zine “Vaguely” and features in The Mobile Library and Protest Magazine. Carpintero lives and works in Brooklyn, NY.

Isis Davis-Marks (b.1997) is a multidisciplinary artist, educator, and writer based in New York City. Her artwork has been exhibited nationally and internationally in venues including the Brooklyn Museum, the Yale School of Art, the SPRING/BREAK art show, the Prizm Art fair, and La Loma Projects. Her visual work has also been featured in the Nation. She is currently a member of UNDERDONK, an artist collective based in the Lower East Side of Manhattan. Isis uses both written pieces and images to tell stories, explore the nature of time, and investigate the limitations of language. In this practice, she examines topics connected to race, femininity, education, and class, but also attempts to relate these themes to more universal quandaries like love and ancestry, which is why plants and artifacts often appear in her work.

Margot Ferrick was born in 1988 on Long Island and now lives in Illinois. Her published comics include Yours (2dcloud,) Dognurse (Perfectly Acceptable Press) and Star of Swan (Breakdown Press.) Leah Huang (b.1992, Wuhan, China) is a self taught artist based in Brooklyn, NY. She began developing her visual language in painting through the practice of analog photography, while working in the fashion industry for nearly 15 years. Her painting work occupies the unconscious space between abstraction and figuration, suggesting contradictions and the unresolved zones of life. Her work has been included in exhibitions across the tri-state area and is in private and corporate collections across the U.S. Leah explores the porous boundary between desire and fear, as an immigrant who has navigated a cross-cultural upbringing while also contending with the desires between my ego and heart. When she diverged from the linear path as a Chinese American and a woman, she plunged into long awaited risks and confronted her personal shadow with her practice. Leah came to painting through analog photography, interweaving a symbolic vocabulary with the power of chance. With a focus on working on paper: she utilizes an intuitive approach which cultivates trust and resilience through material restraint. She is interested in the feminine body as both passive and active agents: simultaneously a receiver of consequences and also a conduit for transformation. Bodily shapes infused into her gestural language, act as a bridge to the emotional and spiritual. Her visual language is informed by spiritualist and outsider artists of the West, as well as historic occult philosophies of the East. In both painting and photography, overlaying shapes, colors and framing devices lead the viewer into questioning the perspective of both the observer and the participant: ultimately illuminating that our desires and fears are one and the same.

Samhita Kamisetty is a visual artist based in Brooklyn, New York, with roots in Portland, Oregon, and Bangalore, India. Her multidisciplinary practice spans illustration, ceramics, natural dyeing, and design. She explores themes of materiality, memory, and function, collaging narratives and shapes drawn from rituals and everyday life to connect with and honor her two worlds. Her process weaves family archives with materials embedded in cultural history and regeneration, reframing tradition through a new lens. As an extension of her practice, Samhita produces and teaches natural dye workshops, focusing on the bundle dye technique, which uses botanicals to create unique textile pieces. Her work has been exhibited in New York, New Delhi, Berlin, Rotterdam, Los Angeles, Miami, and Mexico City. She holds a BFA in Studio Art and Communications from New York University. Remy Knopf is a Brooklyn-based artist whose drawing-based practice explores the internal systems and quiet decisions that shape individuals and the worlds they inhabit. Through gestural mark-making, Knopf investigates how the accumulation of seemingly mundane choices forms a life, while inherited structures from those before us continue to leave their imprint. Her recent work turns toward the abstraction of the male body, layering intimate nude drawings of close sections of men into fragmented, overlapping forms. These works question power, perception, and vulnerability. Knopf received her BFA from Pratt Institute (2015) and is a founding member of Passing Notes, a publication for artists who write, established in 2021. She has participated in residencies at Studio Ninedee (2025) and ChaNorth (2023), and presented work in exhibitions, including the solo show Long Mind at Java Project, Brooklyn (2018–2019). Her practice continues to evolve through drawing as a site of both intimacy and inquiry.

Seung-Jun Lee (b. 1998, Korea) is an artist based in Brooklyn, NY. His work involves accumulating and extracting small personal moments from everyday life, layering them into a homogeneous mode of expression. Finding gems in the bricks of the city, Jun shapes a malleable yet continuous link between his vision and surroundings. Using drawing and sculpture as mediums to investigate this relationship, his work builds a world of his own, capturing the tensions, nuances, and emotions that arise from navigating reality. With his primary focus being large-scale drawings, Jun has exhibited in New York, Baltimore, and Korea, showcasing in venues such as Culture Lab, :iidrr, Current Space, Creative Alliance, and Subtitled NYC. His contributions have been recognized in Suboart Magazine Nr. 21 and Art Spiel Magazine, notably for his co-curated show at Gallery Tutu.

Farwah Rizvi is a visual artist born in Lahore, Pakistan and currently based in Queens, New York. Farwah is currently pursuing an MFA in Studio Art at Hunter College. Her interdisciplinary practice spans oil painting, water based media, and printmaking, often unfolding across a variety of surfaces including wood, paper, linen, silk, and glass. Drawing inspiration from Persian, Indian, and Mughal miniature painting, she uses storytelling as a foundation to explore the psychological and symbolic terrain of inner demons. Her work delves into the complexities of personal and collective identity through imaginative depictions of demon-like figures. These forms are not literal monsters but serve as manifestations of internal voices and emotional states, sometimes humorous or harmless, other times unsettling or chaotic. Her imagery prompts viewers to confront their own interpretations of these creatures, inviting introspection about what we fear, hide, or find absurd within ourselves. Printmaking plays a significant role in Farwah’s recent work, offering a means to explore repetition, layering, and transformation. Techniques such as rubbings, screen printing, monotypes and laser cutting enable her to navigate the tension between spontaneity and control. Through this process, she creates variations of the same image, mirroring the repetitive and shifting nature of thought, memory, and struggle. Farwah’s work aims to bring these fragments together into a cohesive visual experience that reflects the perpetual negotiation between inner turmoil and external influence. By reimagining traditional motifs through contemporary processes, she constructs a world where myth, personal history, and psychological landscapes merge, offering viewers a space to reflect on the demons they carry and the narratives they build around them.

Thea Stevens (b. 1990) is an artist and designer based in Brooklyn. She received her BFA in Illustration from Parsons School of Design, as well as completing the BA Fine Art program at University of the Arts London. Working in a multitude of media, Stevens reinterprets the impact of Decorative Arts through abstraction and mimicry. Her installations have been exhibited at NYCxDESIGN, the Milwaukee Art Museum, Arsenal Gallery, and the NY Philharmonic Biennial. Thea explores the erosion of memory, objects, and ideas. Performing as a pseudo archaeologist, she seeks to find reasoning behind deception, loss of self, and connecting an untethered history. Her work functions as an autobiography. Stone sculptures evoke faux artifacts of imagined ancestors. The detachment from her heritage is expressed in the grooves and fissures of the rock. Personal mementos are collaged with commercial material, mythologizing the artist’s life via aspiration, aesthetic, and overconsumption. The facade starts to crack in Stevens’ painted works. Abstracted Baroque ornamentation crumble to reveal a psyche in decay, catastrophically collapsing like the death throes of a star.

Jane Sugar (b. 1970, in Grand Rapids, MI) is sister to six siblings, was raised on a fruit and vegetable farm in Michigan. She started to draw and paint as a young girl, and received a BFA from the University of Michigan and a MFA from The Pennsylvania Academy of the Fine Arts. Soon after, she moved to Berlin, Germany where she lived as an artist for several years. Jane now resides in NYC and has recently exhibited in Canada, France as well as the USA.

Natasha Vega is a creator based out of Dallas, Texas but is known to float back and forth between New York City. She turned to papermaking due to the alchemy of the medium. Paper can act as a skin, a pulp, a hyde, or a cloth* Natasha has previously exhibited work at The Latino Cultural Center in Dallas, TX; The Bath House Cultural Center in Dallas, TX; TEMPEST Gallery in Ridgewood, NY; The Morgan Conservatory 9th Annual Juried Show- Cleveland, OH; and NYC Crit Club- Gallery Cubed in Brooklyn, NY. As a paper maker, Vega’s work is a study between ancient practices, botanical scraps, and rugged wavy edges. At her home studio she likes to integrate traditional techniques, often working outside with the sun- collecting dried flowers, leaves and grasses to embed into the paper pulp, holding shape and time; a natural resounding of its environment. Each piece is infused with delicate textures- a harmonious blend of tangles and soft crispy paper layers. Occasionally, embellishments of fragmented jewelry are embroidered throughout the piece, recuerdos of things lost and found. Above all, Vega remains contemplative of the beauty in debris.

ABOUT TEMPEST GALLERY

 

At TEMPEST, we want to talk about art in a maelstrom. We invite artists to be unafraid to broach difficult conversations and address colonial structures of violence through their practice in textiles, sculpture and installation. Our main desire is that each monthly show present layered themes where multiple cultural references intersect and tussle.

Launched in 2024, Tempest Gallery is located at Rockella Space’s One Eyed Studios in Ridgewood, Queens. Through our programming and events, we aim to create community and a space for gathering, presenting work and building relationships.

Please visit us at 1642 Weirfield Street, Ridgewood Queens, NY, during our regular gallery hours Wednesday-Saturday, 1-6pm.

We are open to scheduled visits outside of regular hours, please direct message us on instagram