Zachary Armstrong
“Entrance”

April 23 – June 20, 2026
48 Ludlow St, New York, Ground Level Gallery

Entrance is pleased to present “Entrance”, a solo exhibition of new work by Zachary Armstrong, featuring a series of encaustic paintings installed within a site-specific intervention by Armstrong on the gallery’s ground level. The exhibition marks Armstrong's first presentation with the gallery, shown alongside a selection of new work by Jackson Maximo Armstrong, Zachary Armstrong’s son, in the gallery’s lower level.

When Entrance was refurbished in 2021 the gallery underwent significant cosmetic changes, however, the original floors were preserved. Though uncommon in a gallery setting, the orange glazed tile is ubiquitous in any commercial kitchen or seafood processing facility in the Lower East Side and Chinatown. As part of the ambitious site-specific installation, Armstrong meticulously reconstructed the tiles using his signature encaustic technique. Moving and expanding the floor to the wall, the encaustic tiles are juxtaposed with hand-fabricated wood wainscoting and shelving, accompanying a series of eight new encaustic paintings. The installation acts as a backdrop for the abstract paintings, the smallest works of his career, now occupying Entrance’s rebuilt space.

Armstrong’s previous work centers around motifs of barnyard animals, engines, fish and other fragments drawn from Americana. His iconography always gravitates toward objects chosen for their capacity to "pack" form, color, and meaning into a single image. The gallery’s signature tile floors fit seamlessly into Armstrong’s practice; the orange tile carries its own weight through connotations of labor, culture, place, and the layered histories of a neighborhood remade across generations. 

Encaustic is among the oldest painting mediums in recorded history, practiced by ancient Greek and Egyptian artists and employed in the Fayum portrait tradition before receding almost entirely from Western painting for centuries. Its contemporary revival remains seldom. Jasper Johns returned to it in the 1950s, and Armstrong notes the comparison directly: "His are much clearer than mine, more transparent." Where encaustic typically exploits the translucency of beeswax, Armstrong works against the material's default, building with heavier, more opaque applications of color. He sources two thousand pounds of beeswax annually from a local farm in Ohio where he lives and works. Armstrong mixes it with damar resin and oil paint at ratios well beyond conventional recipes. The result is a surface closer to clay than to glass, thick globular marks that accumulate and fuse under heat into something palpably dense and pressurized. 

The paintings in the exhibition represent a new departure for the artist. Armstrong began this body of abstract work by redrawing a sketch his brother made of him in childhood, working the image through a process he describes as increasingly free and evolved. For years Armstrong’s practice remained disciplined, regimented, and bound to figuration. "It's actually something new. I never allow myself any of that freedom,” Armstrong said of his recent works, "it cracked a code.” Rhubarb pink and sky gray marks accumulated across the canvases until the paintings began resolving on their own terms. He references Monet's 25 Haystack paintings when discussing his process: the same subject returned across changing conditions of light, time, and material, each iteration distinct– the series itself the argument. Armstrong questions if there is a contradiction between repetition and abstraction, "Is it even abstract," he asks, "if I'm painting it over and over again?" 

Zachary Armstrong (b. 1984, Dayton, Ohio) lives and works in Dayton, Ohio. Working exclusively in encaustic for two decades, Armstrong builds paintings through accumulated layers in which underlying color surfaces through fields of black, white, and gray, while dynamic brushwork simultaneously evokes flatness and depth. His work moves between abstraction and figuration, drawing on a personal iconography rooted in Americana, art history, and a sustained inner library of imagery.

Armstrong has exhibited at galleries across New York, London, Berlin, Copenhagen, and Los Angeles. Recent solo exhibitions include Vito Schnabel Gallery, New York (2023); Tilton Gallery, New York (2022); Faurschou Foundation, Brooklyn and Beijing (2021 to 22); and Carl Kostyal, London (2019). His work is held in the collections of the Contemporary Art Foundation, Tokyo; the Faurschou Foundation, Copenhagen; and the Pizzuti Collection at the Columbus Museum of Art, Ohio. In 2018, he was included in Inherent Structure, a survey of contemporary abstract painting at the Wexner Center for the Arts, Columbus, and participated in the residency program at Lefebvre and Fils, Versailles, France. Most recently, Armstrong was included in Between Fields and What Isn't: A Decade Inside No Place, No Place Gallery's 10th anniversary exhibition at Beeler Gallery, Columbus College of Art and Design (2026). This is Armstrong's first solo exhibition with Entrance.

Jackson Maximo Armstrong
“Entrance”

April 23 – June 20, 2026
48 Ludlow St, New York, Lower Level Gallery

Entrance is pleased to present “Entrance”, a new body of work by Jackson Maximo Armstrong, on view beginning April 23, 2026 in the gallery's lower level. The presentation runs concurrently with an installation and new work by Zachary Armstrong, Jackson's father, on the ground level gallery. 

Coming from a family of artists, including his grandfather, father, and uncle, Armstrong’s visual sensibility formed early in proximity to painting. Armstrong’s work draws influence from this lineage.The abstract landscape paintings of his uncle, which he notes as being reminiscent of Gerhard Richter, and his father’s singular practice, which doesn’t shy away from risk taking and experimentation, shaped Armstrong’s orientation toward surface, material, and improvisation from an early age. 

Armstrong's formal encounter with textiles came through hands-on work in the fashion industry; from there he began building a personal collection of fabrics, which eventually evolved into source material for his abstractions. In 2023, he began a series of two-dimensional textile prints central to this exhibition: collected fabrics were scanned and burned onto silkscreens, then printed onto prepared ground. By divorcing textiles from their inherent function and body, Armstrong’s work flattens fabric into a new pictorial object, preserving only its patterning and texture.

Each panel starts on muslin or canvas. Most receive an initial coat of white paint before being sanded to a uniform, smooth surface, though at times Armstrong experiments with a deliberate rough texture. From there the process turns improvisational. He builds in multiple screenprinted layers, often printing wet on wet, colors bleeding before either layer sets. Freshly printed panels occasionally go directly onto a hot press, the heat becoming a tool to shift the color palette mid-process. Some works receive three passes of a single screen; others accumulate eight or more before Armstrong paints over the surface entirely and begins again. 

The approximately 72 small works in the exhibition are intended to create a continuous line across the lower level gallery, individual decisions accruing into a single extended field. 

Jackson Maximo Armstrong (b. 2003, Dayton, OH) lives and works in Dayton, Ohio. Armstrong’s primary medium is screenprinting, which he began using in 2020, making and selling t-shirts and clothing under the brand name Gugani, which quickly evolved into his practice of pictorial, textile-derived, screenprinted paintings. His work takes advantage of the materiality and flexibility of the medium; often pushing the ink and muslin through rigorous processes. Armstrong presented his first solo exhibition, Gander, at Capsule Gallery, Dayton, OH in 2024. “Entrance” will be his debut solo exhibition in New York. 

For inquiries, email info@entrance.nyc