Feia is pleased to present Four Corners, a four-artist exhibition featuring Los Angeles-based artists Cathy Akers and Kayla Mattes alongside New York-based Danielle Klebes and Janet Loren Hill. Opening on July 18, the exhibition marks the second presentation at the gallery’s Los Angeles space, assembling a provisional world from the distinct visual vernaculars of its four artists. Drawing on Gaston Bachelard’s phenomenology of corners, the geography of the United States – including the kitschy tourist destination Four Corners – as well as familiar expressions such as “the dark corners of the internet” and “out of the corner of my eye,” the exhibition considers the corner as both a literal structure and perceptual threshold. From this starting point, each artist’s work develops its own internal world, which together form a composite environment within the gallery.
Cathy Akers’s ceramic dioramas follow an imaginary society of horse-riding warrior women as they confront patriarchal systems and assert spaces for their own desires. After the Fray depicts the aftermath of the most recent battle, where the figures tend to wounds, assist one another, and rest. The work draws on Akers’s experiences as a mother and a woman, alongside 15 years of archival research into 1960s-era communes, and seminal feminist texts such as Herland by Charlotte Perkins Gilman and Les Guérillères by Monique Wittig. Danielle Klebes’s paintings also claim space amid patriarchal sovereignty. Combining real and invented objects, her works depict interiors that feel at once intimate and unsettled. Focusing on the tension between belonging and alienation, Klebes is particularly interested in borrowed spaces and how they relate to queer identity, stability, and questions of belonging in contemporary America.
Janet Loren Hill paints surreal figures that rehearse propaganda systems and the aesthetics of ideological control. In Four Corners, triangular pennants flutter with signs of unrest as Hammerheads move through the scenes – tugging at roots, torching seeds – caught between defiance and fatigue. Using historical propaganda posters and contemporary manipulative media in which state power leverages the aesthetics of nature to obscure coercion, Hill traces global histories where control wears the mask of care, including the Lebensborn program in Germany, Red Scare-era campaigns, QAnon’s infiltration of wellness spaces, and China’s One-Child Policy.
In a related act of translation Kayla Mattes produces handwoven tapestries that slow down fleeting moments from screen culture, merging digital references through an ancient process. For Four Corners, Mattes tackles ongoing political and societal instability in the United States by rendering redacted images from the Epstein files, internet memes, symbols, and text into woven form. Tapestry, used to document contemporary life and social conditions for millennia, becomes both medium and critique – a feminized and historically overlooked labor made visible. The works are analog, yet remain structurally tied to digital modes of perception.
Together, the four artists construct a shared yet unstable architecture of meaning and resistance held together by overlapping thresholds, edges, and partial views. In this space, corners are active sites of encounter where histories accumulate, ideologies falter, and private worlds briefly surface. Across ceramics, sculpture, painting, and tapestry, Akers, Klebes, Hill, and Mattes converge in a logic of fragmentation and reassembly. What materializes in Four Corners is a provisional world shaped by friction: between domestic space and public ideology, intimacy and spectacle, and handmade forms and mediated experience. Rather than resolving these tensions, the exhibition holds them open.
