Hidden amid the bustle of the Bowery, one of New York’s most chaotic streets, is Geary Contemporary, a gem of a gallery that has been quietly making a name for itself with engaging exhibitions of emerging artists. In its latest show, Red Velvet, Orange Crush, Geary presents new sculptural and quilted works by Emily Oliveira.

Taking over both of Geary’s gallery spaces—the one on Bowery, as well as their upstate New York location in Millerton—Red Velvet, Orange Crush, is a rich example of contemporary textiles. Oliveira combines different colors, textures and materials, including velvet, cotton, cyanotypes, beads and sequins, to create amorphous sculptures and quilts that resemble orifices. Depicting scenes of transformation, both supernatural and natural, the whole of the show seems to challenge our understanding of order and logic. Oliveira takes this otherworldly, science fiction feeling further by treating the entire space of the gallery like her canvas, paintings the walls with a rich ombre of colors that resemble a celestial sky.

Oliveira’s hints of velvet command attention. In Two Goddesses Witness the Miraculous Resurrection of an Ox Under a Solar Eclipse, Even as Two Dogs Fight Over the Bones (2021), a black velvet circle representing the sun sucks in the viewer’s eye as if pulled by some unknown, otherworldly source. Below the black orb are, as the title states, two goddess figures, fighting dogs and an ox in the process of resurrection. Nearby, in The Goddess is Transfixed by The Blood Moon Reflected in the Water at High Tide (2021), velvet appears again in a rich, red moon and its reflection in the water’s surface, as well as in a fiery orange flame emanating from the goddess’ head.

Emily Oliveira, I am weak with much giving, I am weak with the desire to give more (2022) on view at Geary. Courtesy of the artist and Geary Contemporary.

While subtle hints of velvet serve to emphasize specific details in these works, it is the main attraction in a giant, amorphous sculpture installed in the corner of the room. Titled I am weak with much giving, I am weak with the desire to give more (2022), the lustrous, sparkling velvet surface dazzles. The sculpture’s folds and flaps seem to be moving, as if alive or about to come alive. Wedged in the corner, the sculpture appears to have bubbled out from the building’s cracks.

Oliveira’s show comes at a time when textiles are increasingly celebrated in New York. Just across the street from Geary Contemporary is Faith Ringgold’s stunning solo show at the New Museum, which includes quilts, sculpture and paintings from throughout the 91-year-old artist and women’s rights activist’s long career.

Emily Oliveira, We Are At a Moment That Will Be Remembered as the Beginning of the Great Change, For Who Can Say When a Wall Is Ready To Come Down mural at Bandshell, Courtesy of the artist and BRIC

Like Ringgold, Oliveira also excels as a mural artist. Her exhibition coincides with a new wall mural in the Lena Horne Bandshell at Prospect Park. Titled, We Are At a Moment That Will Be Remembered as the Beginning of the Great Change, For Who Can Say When a Wall Is Ready To Come Down, the vivid mural depicts a pink brick wall and brightly colored figures engaging in an apparent scene of rebirth or transformation. Oliveira created the piece, on view through May 31st, to celebrate moments of collective action, in particular the groups that rose up against violence and hate over the last year.

Whether coincidence or clever scheduling, the juxtaposition of Oliveira and Ringgold’s work can be seen as aspirational. With Oliveira’s mastery of her techniques and mediums, in particular her memorable use of velvet, her work stands strong in such impressive company. It would come with little surprise to see Oliveira follow in Ringgold’s esteemed footsteps.

Red Velvet, Orange Crush is on view at Geary Contemporary at 208 Bowery and 34 Main Street in Millerton, New York through April 8th.