Lisa Perry's latest endeavor is Onna House Soho, an avant-garde gallery space nestled in a 1962 Paul Lester Wiener-designed home. The brainchild of the Chicago-born entrepreneur, the venue is part salon, part art gallery – yet, it feels remarkably like a cozy living room. This deliberate ambiguity belies Perry's unyielding focus on celebrating women artists and their distinctive mediums.
Stepping into Onna House Soho, visitors are greeted by an array of artistic talents who bring to life the notion that 'craft' is more than just a utilitarian term. The gallery boasts a tapestry woven from tree bark by Hiroko Takeda, whose work also graces the group exhibition "Minimal-Maximal" at Hunter Dunbar Projects. Another standout piece comes courtesy of Tamiko Kawata, whose safety pin sculptures are both poignant and visually stunning.
At its core, Onna House Soho is about honoring the maker's touch – the 'traces of the hand' as Perry aptly puts it – rather than solely emphasizing the high-brow polish of the fine art world. It's a space where one can witness the intimate connection between artist, object, and collector. In this carefully curated environment, visitors are invited to immerse themselves in a world of textures, colors, and materials that feel woven into the very fabric of their being.
While Perry is unapologetic about her passion for 'slow art' – an approach she believes has long been neglected by commercial galleries – her commitment to celebrating women artists who challenge traditional notions of 'craft' remains unwavering. And in Onna House Soho, collectors are given the rare opportunity to experience such masterpieces up close.
In an industry that has historically marginalized 'women's work,' Perry is pioneering a bold shift toward recontextualizing often-overlooked mediums as essential components of fine art. The fruits of her labor are palpable in Onna House Soho – a space where one can revel in the tactile beauty and emotional resonance of artistic expression, freed from the constraints of conventional commercial norms.
As Perry herself notes, 'this is what the space was always meant to be.'
Stepping into Onna House Soho, visitors are greeted by an array of artistic talents who bring to life the notion that 'craft' is more than just a utilitarian term. The gallery boasts a tapestry woven from tree bark by Hiroko Takeda, whose work also graces the group exhibition "Minimal-Maximal" at Hunter Dunbar Projects. Another standout piece comes courtesy of Tamiko Kawata, whose safety pin sculptures are both poignant and visually stunning.
At its core, Onna House Soho is about honoring the maker's touch – the 'traces of the hand' as Perry aptly puts it – rather than solely emphasizing the high-brow polish of the fine art world. It's a space where one can witness the intimate connection between artist, object, and collector. In this carefully curated environment, visitors are invited to immerse themselves in a world of textures, colors, and materials that feel woven into the very fabric of their being.
While Perry is unapologetic about her passion for 'slow art' – an approach she believes has long been neglected by commercial galleries – her commitment to celebrating women artists who challenge traditional notions of 'craft' remains unwavering. And in Onna House Soho, collectors are given the rare opportunity to experience such masterpieces up close.
In an industry that has historically marginalized 'women's work,' Perry is pioneering a bold shift toward recontextualizing often-overlooked mediums as essential components of fine art. The fruits of her labor are palpable in Onna House Soho – a space where one can revel in the tactile beauty and emotional resonance of artistic expression, freed from the constraints of conventional commercial norms.
As Perry herself notes, 'this is what the space was always meant to be.'