Foundation for Spirituality and the Arts

10/30/2026

What can a work of art hold that cannot be easily put into words?

In “VESSEL,” a group exhibition curated by Sacha H. Cohen at The KINN in Venice, California, thirteen artists explore the body, the canvas, and the gallery as vessels for experience—forms that gather and carry memory, ritual, emotion, and belief.

Drawing inspiration from Ursula K. Le Guin’s “The Carrier Bag Theory of Fiction,” this exhibition considers how meaning accumulates through fragments, gestures, contradictions, and traces of lived experience.

Spirituality emerges throughout the exhibition in varied forms. Roberta Gentry’s “The Visitation” draws on medieval iconography, while Yeonsu Ju’s “Orbit the Self” approaches painting through the lens of Gijesa, a Korean ancestral ritual. Higinio Martinez layers natural patterns, psychedelic forms, and spiritual imagery, and Nicolas Mehdi Pour Vahid’s “The Weeping Bird” evokes the memory of religious icons within a luminous natural world.

Through the accumulation of marks, materials, symbols, and gestures, the exhibition considers how spiritual and personal histories persist as living traces carried forward through the act of making.

Nicolas Mehdi Pour Vahid, “The Weeping Bird,” 2025.

Roberta Gentry, “The Visitation,” 2024.

Yeonsu Ju, “Orbit of the Self I,” 2026.

Higinio Martinez, “Genesis,” 2026.

Photography: VESSEL Artsy

10/29/2026

In “Reading the Waves,” Chilean artist Sandra Vásquez de la Horra explores the profound entanglement of human life, spiritual belief, and the natural environment. Through drawings and immersive installations, she draws on religious iconography, folklore, mythology, and Indigenous knowledge to imagine a world in which the human body is inseparable from the forces that sustain it.

Central to the exhibition are spiritual figures associated with water and the earth, including Olokun, the Orisha of the deep ocean; Yemayá, a deity associated with the ocean and rivers; and Pachamama, the Andean earth mother. These figures evoke traditions in which the natural world is not merely a backdrop to human experience, but a living presence with which we remain in relationship.

“Reading the Waves” offers a timely meditation on the ways spiritual traditions can deepen our understanding of ecological interdependence—and remind us that our relationship with the natural world is not simply one of observation, but of belonging.

Sandra Vásquez de la Horra, “El Llamado de las Estrellas” (detail), 2026.

Sandra Vásquez de la Horra, “Surrendering to the Waves” (detail), 2026.

“Sandra Vásquez de la Horra, Reading the Waves,” 2026 (installation view).

Sandra Vásquez de la Horra, “The Appearance of the Second Sun,” 2026.

“Sandra Vásquez de la Horra, Reading the Waves,” 2026 (installation view).

Photos: Tanya Bonakdar Gallery

10/28/2026

Kiki Smith’s “Untethered Journey” brings together historical and recent works that explore the interconnection of the human body and the natural world through a spiritual and psychologically charged engagement with mortality, regeneration, and gender.

Deeply informed by the visual culture of the past, Smith draws on anatomical illustrations, relics, memento mori, folklore, mythology, Byzantine iconography, and medieval altarpieces. Her sculptures challenge conventional depictions of the human form, exposing its inner workings and unsettling the boundaries between interior and exterior, vulnerability and transcendence.

The exhibition includes “Virgin Mary” (1994), an early bronze sculpture, and “Sybills” (2005), a stained-glass installation that engages archetypes of femininity. In “Stars and Scat” (1996), a vast expanse of blue Nepalese paper dotted with crystal stars and bronze pellets brings otherworldly beauty into contact with fundamental corporeality. Across these works, the body becomes a record of personal and collective history, while animals and celestial imagery evoke the fragile networks connecting all forms of life.

As Smith has observed, “I always think the whole history of the world is in your body.” “Untethered Journey” considers the implications of this idea, revealing how the physical body holds histories that extend beyond the individual and situating human existence within a wider, interconnected natural world.

“Kiki Smith: Untethered Journey” is on view at Jeffrey Deitch, Los Angeles, in collaboration with Pace Gallery, October 30, 2026–January 23, 2027.

Kiki Smith, “Untitled,” 1995. Photo: Kiki Smith.

Kiki Smith, “Virgin Mary,” 1994. Photo: Sotheby’s.

Kiki Smith: Untethered Journey, installation view. Photo: Jeffrey Deitch.

Kiki Smith, “Wooden Moon,” 2022. Photo: Kiki Smith.

10/20/2026

“Between Worlds,” a group exhibition at GAVLAK in Los Angeles, explores the shifting boundaries between the earthly and celestial. Across painting, sculpture, textiles, photography, and glass, thirteen artists consider how familiar materials might open onto less tangible realms of memory, desire, transformation, and transcendence.

Gold and silver leaf lend Field Kallop’s geometric abstractions a sense of celestial order, while Jessica Cannon’s expansive compositions dissolve distinctions between landscape, atmosphere, and light. In spiritually charged portraits, Jose Alvarez (D.O.P.A.) layers feathers, mica, and drawing; elsewhere, Rob Wynne’s mirrored glass reflects both language and the viewer, drawing the surrounding world into the work itself.

Rather than treating the physical and metaphysical as opposites, “Between Worlds” invites us to consider how the sacred might emerge through the materials, bodies, and images that surround us—and how art can make perceptible what otherwise eludes description.

Jose Alvarez (D.O.P.A.), “Song of Freedom (Carmen Ortega, The Light Within You),” 2022.

Pae White, “Drone-Drome B,” 2016.

Nancy Lorenz, “Lemon Gold Cloud,” 2023.

Rob Wynne, “HEAVENLY,” 2025.

Renée Condo, “Ga’qanei,” 2025.

Rob Wynne, “A Slave Again, Of Love,” 2013.

Kris Knight, “Gold Turns To Green (Sean & Forsythia),” 2025.

Jose Alvarez (D.O.P.A.), “Song of Freedom (The Light Within You),” 2022.

Field Kallop, “Spring (Study),” 2026.

Andrew Brischler, “Self Portrait (as Diane),” 2025.

Photography: GAVLAK Gallery

10/19/2026

“The first thing that hit me was that I was given the gift of time here.”

During his FSA residency, artist Alfonse Borysewicz reflects on the freedom to create, the spiritual rhythms behind his work, and the unexpected possibilities of materials, memory, and prayer.

10/16/2026

10/16/2026

10/15/2026

In “The Sacred Mangrove,” on view at Pérez Art Museum Miami, Bahamian artist Anina Major transforms woven clay, bottle trees, and shells into an immersive landscape shaped by ancestry, ritual, and reciprocal care.

Drawing on Bahamian weaving traditions passed down through generations of women in her family, Major considers how cultural knowledge is preserved through the hands, materials, and practices that connect us to those who came before. Bottle trees, rooted in folk traditions of warding off malevolent spirits, stand among sculptures that evoke protection, resilience, and the enduring presence of ancestral knowledge.

The exhibition takes its title from the mangrove, a vital Caribbean ecosystem that shelters coastlines and sustains life. Here, the mangrove becomes both a living metaphor and a spiritual proposition: that care is reciprocal and that our relationships with land, memory, and one another can be sacred.

Anina Major, “Water Tower,” 2024. Detail. © Anina Major.

Anina Major, “Water Tower,” 2024. Glazed stoneware, melted sea glass, and sand. 45 x 11 x 11 inches. Collection Pérez Art Museum Miami, museum purchase with funds provided by PAMM’s Collectors Council. © Anina Major. Courtesy the artist and Tern Gallery. Photo: Andrew White.

Anina Major, “The Pearl,” 2021. © Anina Major. Courtesy the artist. Photo: Andrew White.

Anina Major, “The Sacred Mangrove,” 2026. Installation view, Pérez Art Museum Miami.

Anina Major, “The Landing.” Photo: Mathilde Giron.

Anina Major, Artist portrait, 2026.

10/13/2026

How can the human body become a site of spiritual inquiry?

In “History of Our Blood,” Los Angeles-based artist Abigail McCallum explores the religious symbolism of blood, the human body’s relationship to the natural world, and the ancient myths that connect humanity across generations.

Through gestural abstraction, McCallum evokes the body’s vascular system, considering blood as both a biological source of life and a spiritual symbol of cleansing, sacrifice, and redemption. Her work draws on Jewish ritual traditions, including the ancient Temple practices associated with Rosh Hashanah and Yom Kippur, as well as Judeo-Christian narratives in which encounters with the divine unfold near trees: the Garden of Eden, Mount Moriah, and the Burning Bush.

Throughout the exhibition, themes of ascension and descent evoke the movement between earthly and spiritual realms, bodily decay and renewal. McCallum’s paintings invite us to consider how religious imagery and inherited symbols continue to shape our understanding of mortality, belonging, and our shared human story.

“Abigail McCallum: History of Our Blood” is on view at Davis Keller Gallery in Los Angeles through November 14, 2026.

Exhibition: “Abigail McCallum: History of Our Blood”
Gallery: Davis Keller Gallery, Los Angeles, California
Dates: September 19–November 14, 2026

10/08/2026

We’re excited to see Singaporean artist Ho Tzu Nyen at the New Museum, where “Hyundai Translocal Series: Ho Tzu Nyen” brings together a body of work exploring the intersections of history, mythology, theater, cinema, and spiritual thought.

Drawing on the layered histories of Southeast Asia, Ho’s immersive installations challenge the idea of a singular, stable past. Instead, his works move between fact and fiction, archival material and myth, and multiple systems of knowledge—revealing history as something continually constructed, remembered, and transformed.

This exhibition also has a special resonance for FSA. In 2024, we collaborated with Ho on “The World is a Space for Transformation,” a lecture-performance in New York hosted by Asia Art Archive in America, exploring the spiritual philosophies and traditions embedded in his practice. The program continued in Bangkok in January 2025 at the Jim Thompson Art Center, where Ho joined FSA’s Tyler Rollins and artistic director Gridthiya Gaweewong for a conversation about spirituality, art, and Southeast Asian cultural histories.

Ho Tzu Nyen, “P for Power,” from the series “P for Power,” 2026 (still). Courtesy the artist, Kiang Malingue, and neugerriemschneider.
All other images: “Hyundai Translocal Series: Ho Tzu Nyen,” 2026. Exhibition view: New Museum, New York. Courtesy New Museum. Photo: Dario Lasagni.