Rise Above It: John Rivas @ François Ghebaly New York

Why It Matters

The show signals a pivotal evolution in Rivas' practice, merging sculpture with his established textile‑based assemblage, attracting collectors interested in cross‑cultural narratives. It underscores the growing market demand for art that foregrounds labor, heritage, and personal storytelling.

Key Takeaways

• Rivas' first LES exhibition expands into wooden sculpture
• Works blend found fabrics, carving, and painterly techniques
• Sculptures collaborate with his construction‑worker father
• Themes include family memory, labor, cultural identity
• Eleven pieces reference Salvadoran heritage and US experiences

Pulse Analysis

John Rivas, a Salvadoran‑American artist known for his resourceful assemblages of fabrics, heirlooms and paint, steps onto the Lower East Side with "Rise above it," his first solo presentation at François Ghebaly New York. By introducing hand‑carved and polychrome wooden sculptures, Rivas expands a practice that has long centered on intimate, narrative‑driven mixed media. The eleven new pieces draw inspiration from Northern California redwood carving traditions while echoing global polychrome sculpture, positioning his work at the intersection of contemporary sculpture and culturally specific storytelling, and invites dialogue about diaspora experiences in urban art spaces.

The exhibition foregrounds material intimacy, with several sculptures co‑created alongside Rivas’ father, a construction worker whose tradecraft informs the tactile carving and fabric‑fold motifs. This collaborative labor narrative resonates with a broader art‑world shift toward honoring craftsmanship and intergenerational storytelling. By layering brushstroke‑like cuts, painted surfaces, and reclaimed textiles, Rivas blurs the line between fine art and folk tradition, offering a nuanced commentary on immigrant labor, familial resilience, and the everyday rituals that shape cultural identity. The tactile qualities also engage viewers physically, reinforcing memory through touch.

From a market perspective, "Rise above it" arrives as collectors increasingly seek works that fuse personal narrative with socially resonant themes. François Ghebaly’s decision to showcase Rivas in a prominent LES venue underscores the gallery’s commitment to diversifying its roster with Latino voices and to capitalizing on the rising demand for mixed‑media sculpture. The exhibition not only elevates Rivas’ profile among institutional curators but also signals a broader opportunity for Salvadoran‑American artists to command greater visibility and valuation in the contemporary art ecosystem. Future exhibitions may further explore this hybrid language, influencing peers worldwide.