Four Artists Dismantle the Boundaries of “Immigrant”
Raul De Lara, Shanique Emelife, Sihan Guo, and Tahnee Lonsdale challenge conservatism through explorations of migration, spirituality, and interconnectedness.
by Petala Ironcloud 
Subscribe to our newsletter
Or Sign in to an existing accountPrivacy Policy
Success! Your account was created and you’re signed in.
Please visit My Account to verify and manage your account.
An account was already registered with this email. Please check your inbox for an authentication link.
Shanique Emelife’s work is also deeply rooted in a shared immigrant experience. Her paintings center on her family’s homeland of Nigeria and its otherworldly lore. “Ifee’s Fear” portrays her young mother standing in a red-earth courtyard of their enclosed village, positioned next to her older sister. “The Door” initially appears to focus on a simple cement, clay, and corrugated metal entryway flecked with geckos, as if the door itself were the subject. But its position opposite “Ifee” hints at deeper meaning. Upon closer inspection, the door reveals the vague outline of a figure — an ominous presence that reflects the “fear” of the work across from it. Meanwhile, “Absence” and “African Sun” provide aerial views of the village and the intense sunlight, suggesting an incorporeal presence that, by their proximity to the other works, ties into the threads of foreboding and memory.
Get the latest art news, reviews and opinions from Hyperallergic.
Collectivity is also found in Tahnee Lonsdale’s paintings, which depict a covenant of ethereal, feminine figures. Rendered in hues of blue and red or yellow and orange, these figures evoke either a sense of guardianship or an eerie otherworldliness. Lonsdale achieves this effect with lace-thin layers of paint, creating a spectral presence. Only the eyes, hands, and feet of figures are distinct, guiding the viewer’s interpretation of these interconnected beings as arbiters of faith in gender, identity, and the generational cycles of womanhood.
Sihan Guo’s phantasmagorical paintings also cascade with precise yet fluid textures, evoking ethereal beings, clouds, and mycorrhizal networks. Drawing inspiration from the textured interplay of Mark Bradford, the layered symbolism of Julie Mehretu, and the vivid, hallucinogenic palettes of contemporary art, Guo combines translucent washes of pigment with bold, tactile strokes and controlled drips, building a dynamic tension between precision and chance, depth and surface. Inspired by ecological systems and spiritual phenomena, her work blurs the lines between the natural and the intangible, embodying Freud’s observation that “Our unconscious…behaves as if it were immortal,” and offering a vision of interconnected existence beyond human and digital constraints.
The works in this exhibition collectively dismantle the boundaries imposed by the narrow designation of “immigrant” in the United States, embracing instead a globalized, interconnected ethos. De Lara’s wooden monstera sculptures signify both personal and ecological migration, while Emelife, Lonsdale, and Guo explore the interplay between human and transcendental forms, challenging Western spiritual and cultural binaries. Together, these artists offer a dynamic rebuke to the conservative ideologies of their surroundings, asserting the enduring strength, complexity, and beauty inherent in their lived experiences and work.
Raul De Lara, Shanique Emelife, Sihan Guo, Tahnee Lonsdale continues at Alexander Berggruen (1018 Madison Avenue, Floor 3, Upper East Side, Manhattan) through January 15, 2025.
We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic’s journalism during a time when independent, critical reporting is increasingly scarce.
Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you, ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism.
If you can, please join us as a member today.Millions rely on Hyperallergicfor free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading.
Become a member
