Storefront (16 Wilson Avenue, Brooklyn) is pleased to announce a group exhibition “itinerant ones” curated by painter Jules de Balincourt with works by six Brooklyn-based artists: Ariel Dill, Denise Kupferschmidt, Christian Sampson, Adam Sipe and Tyrome Tripoli. This exhibition is the second in a series of summer shows curated by guest curators that have / will include William Powhida, Sara Reisman, and James Panero. The exhibition opens with a reception, Friday, July 1, 6-9PM and will continue through July 17. For more information contact Jason Andrew, 646-361-8512.

Paintings by ARIEL DILL are paradoxical. Using patterns from textiles and forms from ceramics as reference, some paintings employ brushy dots that hover between embroidery and pointillist fracture while others feel solid and sculptural.

DENISE KUPFERSCHMIDT uses bold forms and universal symbols to explore material aspects of humanity, spirituality, and mortality. Through the use of iconic figures and suggestive forms, she creates works on paper that point to the dualities of life and death, good and bad, darkness and light, while also exploring the formality of shape, texture, and movement.

The work of CHRISTIAN SAMPSON explores ideas of form through color, light, and shadow, while vacilitating between two and three dimensions. His installations use polymers, dyes, wood, and plexiglass to create works linked to constructivism and the movement of light and space.

ADAM SIPE works on unstretched canvas, a free-form improvisation that riffs on abstract expressionism and cubism. Figures and faces are swathed in layers of line and color and move in ecstatic spaces of simultaneously projecting and receding shapes. The impossible is made possible when two dimensions become three, when a face looks forward and backward, left and right.

TYROME TRIPOLI creates “Scribble Drawings” on found wood are reactions to the objects’ previous history. Recognized for his massive, whimsical, and colorful sculptures created often from salvaged plastics, Tripoli’s drawings acts not as intervention but as accentuation, illuminating the scars and marks of history on the disregarded and the forgotten.