islands

March 7 – April 4, 2026

Though separated by geography and subject, both artists construct deeply personal investigations of place as a shaping force. Lee Wormald has worked on the island of Flores since 2014, considering what it means to inhabit a geographically bounded world. Referencing the Flores poet Roberto de Mesquita’s notion of “Almas Cativas”—captive souls—Wormald explores how an island imprints itself on its inhabitants, producing a subtle psychic enclosure. His images suggest that insularity is not only physical but internal; the island becomes both territory and temperament.

Kevin Foley’s work emerges from within his family’s asphalt paving business, where he represents the third generation to work in the trade. His images transform job sites, aggregate piles, machinery, and quiet moments of labor into formally rigorous compositions. Foley seeks beauty in the overlooked terrain of work—the sheen of fresh asphalt, the geometry of industrial structures, the choreography of hands and tools. If Flores feels spatially compressed, Foley’s world often reads as vast: expanses of road, quarries, and staging grounds that stretch outward, monumental and austere. Yet these landscapes are no less contained. The worksite operates as its own island—self-governed, cyclical, and largely unseen by those outside it.

In Islands, both artists treat landscape not as backdrop but as psychological structure. Wormald’s Atlantic horizon and Foley’s infrastructural fields become environments that shape identity, memory, and perception. Each artist is, in different ways, searching for beauty within systems that define daily life—one in the emotional weather of an island community, the other in the material and generational rhythms of labor.