VOLUME GALLERY

From the private sales department at the gallery - a stunning Donald Judd, Back Slant Chair (1986), ed. 3/30 in Douglas Fir we handled for a client last year….

Open now! Joe Feddersen, Urban Drama.
Pictured here are Feddersen’s glass vessels which are blown and then sandblasted with the artist’s signature symbology—trucks, bicycles, and animals are
layered over subtler, weaving-like patterns etched beneath.

Sam Stewart
Privacy Screen
Stainless Steel
Dimensions variable, 76H inches

Tanya Aguiñiga
Zopilotl, 2026
Gauze, wood, ceramic, green lava rock, turquoise, rooster feathers, and synthetic hair
14h x 20w x 2d inches

On now at the Gardiner Museum in Toronto, the International Ceramic Art Fair, where works by Anders Ruhwald are on view!
“ICAF 2026 has been expanded from a 10-day event to a 12-week exhibition and public program exploring how ceramics is evolving across art, design, and emerging technologies. At the heart of this year’s edition is the theme “the city and the commons,” presenting ceramics as both material and method for examining how we live together in rapidly changing cities. From architecture to infrastructure, ceramics shelter, connect, and ground us, offering new ways to think about belonging, resilience, and shared space.

How do we nurture communal relationships amidst dramatic change? How can the intelligence of ceramics inform how we navigate cosmopolitan life? How can new approaches to ceramic technology re-shape the ways we live together?”

Feddersen’s glass vessels are blown and then sandblasted with the artist’s signature symbology—trucks, bicycles, and animals are layered over subtler, weaving-like patterns etched beneath.
Joe Feddersen
Home, 2022
Sandblasted blown glass
8.25h x 6dia inches

Now open! New works by Tanya Aguiñiga in her show Coyolxauhqui Imperative.
Tanya Aguiñiga
Huehuecoyotl, 2026
Gauze, wood, ceramic, green lava rock, turquoise, rooster feathers, and synthetic hair
40H x 28W x 4D inches

This afternoon! Volume Gallery is excited to present Urban Drama, Joe Feddersen’s first solo exhibition with the gallery, opening today from 3 to 6 p.m. Working across woven linen baskets, blown and fused glass, and printmaking, Joe Feddersen, a member of the Colville Confederated Tribes based in Omak, Washington,
brings together ancestral modalities with contemporary iconography to create work that reflects his lived experience. The multi-disciplinary artist speaks from a Plateau perspective—one that honors our inseparable connection with the landscape.
Pictured:
Protest Basket No. 2, 2025
Waxed twined linen
7 1/2 x 6 1/2 in.

Opening Saturday, new works by Tanya Aguiñiga, Coyolxauhqui Imperative. In this new body of work, Aguiñiga strategically removes threads from the warp and weft of delicate gauze to create images — a
subtractive process like reverse embroidery. Mounted over black velvet, sections of open weave catch light and shadow to outline animals long held sacred across Mesoamerica: opossums, coyotes, vultures, snakes, and bats. These creatures occupied central roles
in Indigenous life and cosmology, and some of their Nahuatl names, tlacuatzin and coyotl, persist in daily language as quiet evidence of their cultural significance. Today, they are largely vilified as pests or nuisances, despite their vital ecological roles. Aguińiga’s imagery is inspired by depictions of these sacred animals in Pre-Columbian codices, pictorial manuscripts covering everything from history and geography to mythology.
Pictured (detail):
Tlacuatzin, 2026
Gauze, wood, ceramic, green lava rock, turquoise, rooster feathers, and synthetic hair

Opening this Saturday from 3-6, Joe Feddersen, Urban Drama. Please join us to experience this beautiful pieces!
Feddersen’s visual language is exemplified by stylized outlines—abstractions of everyday figures rendered graphic, like signs. At first glance, his work might seem traditional, and in some ways, his approach is a continuation of ancestral artistic innovations, just as Plateau people wove slanted triangles to depict mountains or painted pictographs on stone, Feddersen uses the same economy of form to depict the scenery he observes today. Parking lots, power lines, and tire tracks appear alongside bear tracks, eagles, and
snakes—each given equal visual weight, each acknowledged as a character in our environment. Nature and society are shown entwined—creating indexical and unromanticized portraits of the American
landscape as it actually is, shaped by industrialization, land use, and ongoing human presence.
Pictured:
Wild Peaks, 2025
Waxed twined linen
8.25H x 7.5Dia inches
📸Mario Galucci