Tomorrow is not better on the other side of the grass

Bruno's

04.11.2026–05.16.2026April 11th – May 16th, 2026

a view of a small well lit gallery space with vinyl wooden floors and white walls, lit by tube lights. there are five artworks on the walls, two are framed drawings, and one is made of several distinct cast conrete pieces that meet and make a roughly rectangluar shape — Installation view,'Tomorrow is Not Better on the Other Side of the Grass'

a view of two artworks installed on a wall thats covered in a large vinyl sticker printed to look like brick. there is a larger framed artwork with several pieces collaged togerher including a yellow textile and a very naturalistic graphite drawing of a person in a fly costume. below and to the right is a small sculpture made of coral in the shape of an angel — Jennifer Chai Shear 'Happy Fly' 2026 & Angelificatum 'Angel Bearing Red and Blue Gifts' 2026

a small sculpture made of coral in the shape of an angel against a vinyl wall printed to look like brick. the angel has broad, simplified features. — Angelificatum, 'Angel Bearing Red and Blue Gifts', 2026

a framed artwork on a white bead board wall. the drawing is on yellow paper and focuses on a dark brown/black form that appears like a streetlight. going from left and turning down to the bottom middle is a dotted line that appears like a road or path. — BJ Armour, 'The Bad Storm', 2025

a view of two artworks. One is a framed drawing on yellow paper and focuses on a dark brown/black form that appears like a streetlight. going from left and turning down to the bottom middle is a dotted line that appears like a road or path. atop an electrical junction box is a small angel whose body is made of a mango pit. her head is a small gray stone and she wears a red ruffled collar. — Installation view, 'Tomorrow is Not Better on the Other Side of the Grass'

atop an electrical junction box is a small angel whose body is made of a mango pit. her head is a small gray stone and she wears a red ruffled collar. — Angelificatum, Eye Contact Angel, 2026

a yellow sculpture installed on a white bead board wall. its mostly yellow and roughly symmetrical. the center section is wrapped in aluminum foil and it loosely takes the shape of a bridge. it has an orange string attached to it and is intalled with the bottom of the bridge against the wall — Christian Turner, 'Looney Tunes Bridge', 2026

a well lit gallery space with bead board walls and vinyl wood flooring. in center of the image is a large work made of cast concrete thats done in 5 sections. there are white flowers strewn across but mostly around the dges where the pieces meet. several yellow bees fly through. — Installation view, 'Tomorrow is Not Better on the Other Side of the Grass' I

a large work made of cast concrete thats done in 5 sections. there are white flowers strewn across but mostly around the edges where the pieces meet. several yellow wasps fly through. the bottom of the right section is broken with a section missing — Michael Assiff, 'Untitled (Petunia and Wasps)', 2025

a view of a corner section of a well lit gallery space. three artworks are visible. at foreground is a large bench with dark and very intricate pebbly texture. behind and left is a concrete cast sculpture in mostly gray with white flowers. at right is a framed artwork thats largely yellow with hazy blue sections. — Installation view, 'Tomorrow is Not Better on the Other Side of the Grass'

a wooden framed bench with a very intricate pebbly cement-like top section thats inset into the wooden frame. most of the top is dark gray brown with each corner containing a small square of a different color, red, blue/green, yellow, dark blue. — Ficus Interfaith, 'Study Bench', 2026

a cloudily painted pale blue and white wall with a framed artwork hanging in a light wooden frame. the artwork inside is a drawing on yellow paper thats mostly blue lines. Its hazy and theres a large figure in the center with a red circular shaped head. the figure has wings or arms stretched up to the top of the page. — BJ Armour, 'Jellyfish Rainbow', 2026

a view of a well lit gallery space with a cloudy light blue wall and vinyl wood flooring. in the foreground is a large bench. in the center is a white sculpture on the floor covered in white fabric, and loosely in the shape of a very skinny tall mountain. on the wall is a tellow framed artwork and a small sculpture thats not visible in detail. — Installation view, 'Tomorrow is not Better on the Other Side of the Grass'

a white sculpture on a vinyl wooden floor against a foggy blue/gray wall. the sculpture is covered in pieces of white textile and has a broad solid shaped base section and a thinner, tall upright section. — Christian Turner, 'Kung Fu Panda', 2026

a sculpture in the shape of a figure against a cloudy blue/gray wall. The figures body is made of a piece of cardboard from some priduct, a shell as a head, arms made of peanuts, a foot made of a small shell, starry halo, and holding a chrome marble. — Angelificatum, 'Sleepless Angel', 2025

two artworks installed on a cloudy blue/gray wall. on left is a rectangular painting with a stark pink and greenish grid that appears like a textile. to the right is a light-wood-framed artwork with a drawing of a figure's head with long hair in light blue. — Installation view 'Tomorrow is Not Better on the Other Side of the Grass'

a rectangular painting with a mostly stark pink and greenish grid that appears like a textile. its mounted to the wall with no depth. — Michael Caudo, 'Untitled', 2026

a drawing in a light wood frame against a cloudy blue/gray wall. its of a figure with the head at the top of the page. she has long hair and very suspicious expression as though she's mad. its mostly blue lines smudged with white and on a light tan page. — BJ Armour, 'Boss Of The Ice Lady', 2026

a view out a window onto a street taken from an angle. stuck to the glass are three gray oyster shells and a white scallop shell. — 'Terrazzo Oysters and Scallop' Ficus Interfaith, 2026

an oyster stuck to a glass window in the foreground. behind it is out of focus street scene with a fire hydrant and a metal pole — Ficus Interfaith, 'Terrazzo Oyster (Yellow)', 2026

two shell shaped objects are pressed against a reflective glass surface. each one is made of a particulate material with colored fine ground and multicolored pebbles all ground flat. behind is a gallery space with out of focus artworks visible and theres a reflection of tree branches on the glass. — Ficus Interfaith, 'Terrazzo Scallop (Red)', 2026 Ficus Interfaith, 'Terrazzo Scallop (Green 2)', 2026

two oyster shells are pressed against a reflective glass surface. one is full of a particulate material with colored fine ground and multicolored pebbles all ground flat and the other has white inside and off white round shapes inset. behind is a gallery space with out of focus artworks visible and theres a reflection of cars on the glass. — Ficus Interfaith, 'Terrazzo Scallop (Green 1)', 2026 Ficus Interfaith, 'Terrazzo Oyster (Resin Pearls)', 2026

a sculpture standing on a built in window bench in front of a window looking out on a street on a bright day. the sculpure stands about a foot tall and two wide and has a wooden base, clean popsicle sticks upright in a loose fence-like formation and three evenly spaced circular forms on the top. hanging off the right side is a silver star. — Christian Turner, 'Bridge for BJ’s Brown Car', 2025

overhead view of a sculpture standing on a built in window bench in front of a window looking out on a street on a bright day. the sculpure stands about a foot tall and two wide and has a wooden base, clean popsicle sticks upright in a loose fence-like formation and three evenly spaced circular forms on the top. hanging off the right side is a silver star. — Christian Turner, 'Bridge for BJ’s Brown Car', 2025

Tomorrow is not better on the other side of the grass is the first exhibition at Bruno’s, Studio Route 29’s Ridgewood gallery: a group show which brings together work from artists who do and don't work in or at Progressive art studios. The show coalesces loosely (like weather or a time of day) around the strange, strained, and fruitful positions we may take while living in/with a construction that seeks to position “nature” as separate from… anything. How are we apart from and a part of our world?

As we think about this show and this work we are thinking about adaptation: the ways in which worlds are built within this one to open windows to other ways of being and dreaming; the ways in which we stretch like weeds towards the beautiful radiating sunlights we desire while our roots dig towards soils more nourishing; the ways we may adapt painting to conceal the idealism of abstraction inside the soft materialism of a dish rag; the ways we become other to become our slicked and multiple selves, attached like barnacles to the panes between realms, trash heap angels on high.

Welcome to Brunos!

58-42A Catalpa Ave.
Ridgewood, Queens, NY 11385

Artworks and Images