2026 O-TOWN HOUSE, LA
2015 LUIS DE JESUS, LOS ANGELES
2015 OCHI GALLERY, KETCHUM
2013 COMMONWEALTH & COUNCIL, LA
2013 PØST, LOS ANGELES
2012 LACMA, LOS ANGELES
2011 HUMAN RESOURCES, LA
2010 OCHI GALLERY, KETCHUM
2008 SUNDAY L.E.S, NEW YORK
2005 THE DRAWING CENTER, NY
2005 THIERRY GOLDBERG, NEW YORK
The Best Machines Are Made Of Sunshine
Ochi LA
July 11 - August 22, 2026The exhibition takes its title from Donna Haraway's 1985 essay "A Cyborg Manifesto," whichargues for a feminism grounded in hybridity and the productive entanglement of the human withthe non-human. Haraway's cyborg refuses categorization: it is neither purely organic nor purelymechanical, neither one thing nor another. Larkey and Lonegan share a related sensibility,making work that resists fixed reading and rewards sustained attention. Across both practices,form is revealed through light falling across a surface, through the slow accumulation of color,through an encounter that shifts with the viewer's position and the passage of time.
Larkey's sculptures, each titled Cyborg, are slender vertical forms constructed from steel,stucco, and acrylic paint. Ranging from just over three feet to nearly ten feet tall, they stand in aroom the way figures do: individually distinct but collectively present. A single form might readas body, fossil, architectural fragment, totem, machine, or geometric structure, and none ofthese readings cancels the others. Made by welding together chunks of broken-down metaltubing, then coating the resulting structure with stucco and sanding it until the original material isunrecognizable, the Cyborg is a figure that embodies contradiction: fragmented and whole,chaotic and well-reasoned, apocalyptic and utopian. The surfaces evoke clay, rock or evenbone. They carry material memory without referencing a single origin. These are not stableforms but evolving conditions: shapes in flux, where embodiment itself is a shifting state andmultiple meanings emerge at once.
Lonegan contributes two paintings to the exhibition, one large-scale, one intimate, that togetherdemonstrate the range her practice holds within a single sustained inquiry. Working slowly, shemoves each canvas between wall and floor over months, responding to shifting light in thestudio and building surfaces from layered color and gesture. The works carry a quality ofaccumulated time where washes and impasto coexist, metallic pigments shift with the viewer'smovement, and the eye finds its way through the surface less by composition than by pull. Atthe root of this is the same empirical impulse that drove the Impressionists — a commitment to recording light as it actually behaves, unstable and time-bound. Lonegan pursues that projectfrom her studio, with paint itself as the instrument of record.
Together, the works in The Best Machines Are Made of Sunshine propose the encounter itselfas generative. These are not objects that declare a fixed identity. They reveal themselves overtime.