James Fuentes Gallery is pleased to present a two-person exhibition featuring April Street and Becca Mann. Both based in Los Angeles, Mann and Street share conceptual parallels in materially distinct practices. Brought together, their works reflect upon the continual transformation of the natural world as it is shaped by tools, mediated by technology, and refracted through the shifting lenses of time and human perception. The exhibition foregrounds a set of temporal inversions to be found with each artist’s work: alternating between light and darkness, forming sequences akin to film strips, and continually moving through cycles of time. April Street’s Four Seasons series (2021-25) comprises large-scale, theatrical watercolor drawings that bring forward two notions of time: the disembodied temporality of imagined space, and real time as marked by the artist’s own body. Each work is bordered by painted impressions of Street’s feet, mimicking clock hands and tracing time as an embodied loop. In this transfiguration, her limbs operate as both tool and subject, floating between the painting’s interior as well as the space beyond the frame. Likewise, Street adapts nature’s four seasons as a shifting psychological and emotional landscape. Street’s series is titled in reference to Alberto Giacometti’s The Palace at 4 a.m. (1932)—a large-scale armature of an interior space inspired by the artist’s relationship with a past lover—drawing out further metaphor for the surreal slippage between states of being and memory. Alongside fragments of her own body, the compositions are filled with studio tools like scissors and knives, which pierce through lush, imagined terrains as if traversing a dream. A continuous vine runs throughout the series, forging a connective thread between these changing images. Echoing the symbolic logic of Flemish Renaissance “world landscapes,” this vine also functions as a kind of umbilical cord, linking acts of hist