Galerie Richard, New York presents its first group show titled First Year in New York from July 26 through September 1, 2012.

Based in Paris, Galerie Richard opened its second gallery last September in Chelsea and has since exhibited six solo shows by the following artists: Paul Henry Ramirez, Carl Fudge, Beverly Fishman, Dionisio González, Joseph Nechvatal and Christophe Avella-Bagur.

Paul Henry Ramirez’s works have been defined as Biomorphic Abstractions. Inspired by de Stijl and Russian Constructivism principles, he is a master at exploring new and unusual dynamic spatial balances between empty and full spaces, and between static and dynamism. At the same time he successfully integrates playful and innocent sexuality into the abstract work making the work fully alive.

Carl Fudge investigates both the practical and aestheticized format of camouflage within abstraction. Originating with Wadsworth’s woodcuts that depict the landscapes of the Industrial Revolution in England, then decomposed and fragmented on the computer, relating to the Digital Revolution, these new works are profoundly pertinent to describing the two major events that shape our present way of life.

Beverly Fishman explores the fast evolving relationship between our bodies and contemporary technology. Her vibrantly colored paintings and sculptures have their genesis in diverse patterns and iconography drawn from scientific imaging systems and pharmaceutical packaging. By manipulating and layering these representational traces of the body into dense, psychedelic compositions, Fishman raises questions about the vulnerability of human identity in an increasingly digitized and electronically-mediated world.

Dionisio González’s Favelas is his first photographic series from 2004-2007 which brought him international recognition and acclaim. He began his renowned process of constructing and deconstructing photographic space. As a post-digital maker, Dionisio González exploits photography and challenges the medium’s preconceived neutrality and objectivity assumptions. Meanwhile he challenges himself as being as much a photographer than a virtual architect.

Joseph Nechvatal presents new paintings in which the human body connects to the cosmos, appearing both figurative and abstract. The exhibition also features paintings from the Out Of shadOws series. Using his old photographs from going out to nightclubs in the East Village in the 1970s he then digitally manipulated them adding fluidity to the floating shadows and infecting them with a virus that made them appear as frozen crystals. Nechvatal has been infecting his paintings with computer viruses since 1991.

Christophe Avella-Bagur shows us archetypal representations of male and female bodies that answer our expectations of mass-produced perfection. Avella-Bagur disrupts this ideal with a second layer of portraits painted in visceral flesh-tones that never quite register with the face’s outline. This work emphasizes the conflict between the possibility of standardization of the human bodies and mind by science and the real human being as a unique person.