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INTIMATE IMMENSITY Merve Ceylan & Nadia Yaron 15 Oct — 25 Nov, 2026
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Merve Ceylan and Nadia Yaron have each chosen songs to accompany ‘Intimate Immensity’, on view now.
Link in bio to listen 🎶
06 Nov 2026
winter landscape in a shell (2026), Merve Ceylan
H 8.25 x W 14.75 inches
Oil, pigment, beeswax, and clay ground on canvas
Photos: @erik.benjamins
#MerveCeylan
05 Nov 2026
To Nadia Yaron, her materials are resolutely alive. Wood bleeds water when cut. Her primordial stones thrum with the energy of all the forces that formed them. Hours of sanding, from 60 grit to 800, slowly reveal a history of encounters: rust-stained veins, streaks of pale pink or emerald green, patches bleached to dusty gray. In ‘Bird Over Mountain’ (2026), the alabaster bird’s creamy crystalline bands and restless variations of iron-oxide red recall iridescent light glancing off glossy feathers.
Inquiries: [email protected]
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Francis Gallery
8323 Melrose Avenue
West Hollywood, CA 90069
Open: Wed — Sat, 11am — 5pm
Photos: @erik.benjamins
#NadiaYaron
30 Oct 2026
elfida (2026), Merve Ceylan
H12 × W6 inches
Oil, pigment, beeswax, and clay ground on canvas
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In ‘elfida’ (2026), umber and abalone coalesce in the profile of a woman, her chin resting on her raised palm. The beige of seemingly bare canvas beneath the dark hair, the darker garment drawn around her shoulders, destabilizes the silhouette. Her features are smudged or worn away, as though the portrait were unfinished or long exposed to the elements, left to degrade. While the pale tones feel oneiric, the dissolving contours suggest the blurry distance of memory.
Inquiries: [email protected]
Photos: @erik.benjamins
#MerveCeylan
26 Oct 2026
In the swoop and soar of a bird’s flight, Nadia Yaron perceives the boundlessness of the sky. The striated marble bird balanced atop an ash-wood arch, limestone cube, and curved walnut base in Blackbird (2026) seems to shed its material heft. The upward-arcing wing, defined by three furrowed feathers, appears light, lifted and lifting. The totemic composition presses skyward, animating the still sculpture with a momentum that threatens to escape its stand. Yaron’s birds bear forth a sense of freedom.
The buoyancy corresponds with her long-held meditation practice, in which thought and feeling briefly subside, creating a spaciousness within. A moment of internal release amid constantly fluctuating conditions. “Liberation like enlightenment is a state of mind,” she says, “that we can all achieve despite what’s going on around us.” Her altar, a pink marble candleholder atop a carved walnut shelf beneath a series of prints, offers a kind of perch from which one might consider the present and attend to the unfolding world within.
‘Intimate Immensity’ is on view through to 25 November.
Inquiries: [email protected]
—
Francis Gallery
8323 Melrose Avenue
West Hollywood, CA 90069
Open: Wed — Sat, 11am — 5pm
Photos: @erik.benjamins
#NadiaYaron
21 Oct 2026
The texture of a quince, a peach, a black, not green, fig, Merve Ceylan explains, can contain an entire world. In her kitchen in Vienna, the fig between her fingers, splitting open in her mouth, pulls her back to Bursa, Turkey, where her grandparents were born and where she spent the years between seven and eleven. The three mottled aubergine-colored fruits emerging from the haze of memory in ‘still life with black figs in a white bowl ‘(2026) become a portal unto a distant landscape.
Born in Austria, Ceylan spent her childhood between Turkey and Germany. “Home is not here or there,” she says. “It’s something I contain, and can carry with me in any room, country, or state.” In her chimerical landscapes, where muddied saffron hills meet bleached cerulean skies, the places she cannot inhabit at one time draw together. Sites and sights remembered merge with others only dreamed, still others known without having been seen, forming a geography of attachments and affinities no single location could encompass.
‘Intimate Immensity’ is on view through to 25 November.
Inquiries: [email protected]
—
Francis Gallery
8323 Melrose Avenue
West Hollywood, CA 90059
Open: Wed — Sat, 11am — 5pm
Photos: @erik.benjamins
#merveceylan
19 Oct 2026
‘Intimate Immensity’ — a duo exhibition of Merve Ceylan & Nadia Yaron — is now on view!
The French philosopher Gaston Bachelard described the vastness that can open within us through contemplation as “intimate immensity.” Imagination carries us from a discrete object into the “space of elsewhere,” exceeding the dimensions of our immediate surroundings. Poetic images, and by extension works of art, he argued, could conjure that expansiveness within another person.
Inquiries: [email protected]
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Francis Gallery
8323 Melrose Avenue
West Hollywood, CA 90069
Open: Wed — Sat, 11am — 5pm
Photos: @erik.benjamins
15 Oct 2026
“Silently the birds / Fly through us,” wrote Rainer Maria Rilke in a poem reprised by French philosopher Gaston Bachelard, conveying how encounters with the things of this world—the sculpture, the paintings, the stones, the clay, the last light of day—might enter and expand within us.
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Merve Ceylan & Nadia Yaron’s duo exhibition — opening soon.
Inquiries: [email protected]
Photo: @erik.benjamins
13 Oct 2026
Our recent show in Seoul — ‘A full moon is a half moon’, with Ash Roberts & Nadia Yaron — in @financialtimes’ feature on the enduring allure of the Korean hanok, alongside Arumjigi’s Frieze exhibition and Do Ho Suh’s retrospective at MMCA. Honoured to be in such company.
With gratitude to @heathcoteedwin, @financialtimes, @mv___consulting and of course, @_ash_roberts @nadiayaron & @aegahun.
11 Oct 2026
Stone (Weathered) XL (2024), JAMESPLUMB
H 24 x W 51.5 x D 1 inches
Materials: Bath stone
The ‘Stone (Weathered)’ series, at first glance, brings to mind the paintings of Malevich, Motherwell and Morandi – compositions that are gentle yet dramatic, their subtleties creating an exaggerated sensitivity to tone and texture. Cut to a depth of 35mm to mimic the thickness of a painter’s canvas, the shapes that dance across the surface of the stone are, in fact, more akin to the photographic image than to painting – their medium being light and time.
Compositions appear over a single surface, or emerge across two or three pieces – the image puzzled together across a divide. These interactions produce irregular outlines that break free from any association with the canvas in order to suggest something of their original architectural function – the staggered arrangements that are typical of brickwork and building blocks.
Inquiries: [email protected]
Artwork photos: @erik.benjamins
#JAMESPLUMB
05 Oct 2026
Berend Boorsma’s abstraction is less an act of invention than of excavation, uncovering what he describes as “traces of something that already exists beneath language.” These traces surface only in part, and the work invites the viewer to sit with what has not yet resolved into a fixed image.
This sensibility places Boorsma in kinship with V.S. Gaitonde and Julius Bissier and, further back, ancient Taoist and Zen ink painting — a lineage concerned with what a surface can carry rather than what it depicts.
‘Holding Time’ on view through this weekend.
Inquiries: [email protected]
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Francis Gallery
8323 Melrose Avenue
Los Angeles, CA 90069
Open: Wed — Sat, 11am — 5pm
#BerendBoorsma
02 Oct 2026
The work of JAMESPLUMB asks questions about what is lost and what is acquired through time. Drawn to found materials and age-worn surfaces, they explore ideas of history, permanence, and preservation, revealing the entropy and poetry of all things.
In the ‘Stone (Weathered)’ series, pieces of Bath stone are cut to a depth of 35mm — mimicking the thickness of a painter’s canvas — so that shapes seem to dance across the surface, akin to a photographic image: their medium is light and time.
Salvaged from a single stoneyard, the pieces of Bath stone – offcuts and remnants of the city’s elegant Georgian architecture – had been piled high and left to the elements. Untouched for years, the stone acts like photographic paper, producing an imprint of how the stones were laid one atop another – an image made in positive and negative.
Soft, pale surfaces are set against darker, rougher sections – a patina earned through years of exposure to sunlight, pollution, wind and rain. Between the two tones appears another: a thin dividing line, an almost imperceptible halo – sometimes a charcoal-like smudge, which brings to mind the cave drawings of Lascaux, and at other times a white-hot blur, like the haze at the sun’s edge.
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Currently on view alongside Berend Boorsma’s ‘Holding Time’.
Inquiries: [email protected]
Francis Gallery
8323 Melrose Avenue
Los Angeles, CA 90069
Open: Wed — Sat, 11am — 5pm
#JAMESPLUMB
01 Oct 2026
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