Ridgewood, New York
Will Kaplan
Dance Until Your Bones Clatter
Tempest"Fragments of a vessel which are to be glued together must match one another in the smallest details, although they need not be like one another. In the same way a translation, instead of resembling the meaning of the original, must lovingly and in detail incorporate the original's mode of signification, thus making both the original and the translation recognizable as fragments of a greater language, just as fragments are part of a vessel." —Walter Benjamin, The Task of the Translator, 1923 "Let us never forget: that the poem was entombed in a collapse of the earth. By habit, rather than commodity, the singularity and multiplicity of things were presented as divided couples and dualities, before the genres and species were discovered. This cadence allowed for a better distinction between things (we still think and react in this dual manner, and often take a surprising pleasure from it). But we're also waiting for the renewed perception of differences to reveal themselves as such, and for the poem to reemerge once more." —Édouard Glissant, Poetics of Relation, 1990. "Dance until your bones clatter. What a prize you are. What a lucky sack of stars." —Gabrielle Calvocoressi, 2009 Will Kaplan's studio, before the fire, was brimming with dusty rows of books, stacked on shelves bowing beneath the weight of the world’s library. Collections of Encyclopedia Brittanicas, National Geographics, rogue equipment manuals, a soupçon of philosophy, theatre, liturgical texts, and rare vintage gems; How to Resuscitate, Operate a Gem Cutter, Tie a Surgical Knot. All are foxed, dog-eared, beaten into pulp by time, waiting for their chance to be seen by human eyes and minds. How to make sense of all this information, these diagrams, this knowledge? Will doesn’t seem compelled to translate or collate. He has devised mirror filled books of his own poetry. The proscenium of the stage opens to reveal all; the pomp of colonial subjugation, the veneer of technological glamour, the gnarl of marrow and bonees Will Kaplan (b. 1995) is an artist and writer based in Queens, NY. He received his B.A. from Skidmore College in 2017. Solo exhibitions include: Respawn at D.D.D.D (2026), Both Sides Now (2024) at Living Skin, and Remergency at Bob’s Gallery (2023). Fairs and group exhibitions include Spring/Break Art Fair, Flux Factory, the New Art Dealers Alliance, Flux Factory, ABC No Rio, and Pete’s Candy Store. His exhibition reviews have been published in Two Coats of Paint, Artspiel, and Copy. He has completed residencies at Chanorth (2025) Governors Island (2023) and Manhattan Graphics Center (2018). He curates as part of the collective Nine in Chinatown. Caitlin Reid is a Brooklyn-based painter whose practice bridges collage, representational oil painting, and deep archival research. As Program Director of Tempest Gallery, where she has interviewed over thirty contemporary artists, and co-founder of the artist collective Immaterial Projects (2023–25), her studio work is deeply informed by curatorial thinking and cross-disciplinary dialogue. Reid is currently developing love is a force of nature, a major body of paintings synthesizing fifteen years of personal diaries, classical Greek mythology, and spiritual experience.