Fou Gallery否画廊

Fou Gallery否画廊 Fou is an innovative, organic art community based in New York. fougallery.com

Founded in 2013, Fou is an innovative, organic art community located in a historic 1905 New York brownstone. Fundamentally believing that art is a way of life, Fou Gallery is dedicated to promoting the creative talents and projects of our time. Fou began with a basic recognition that contemporary art and culture must address critical real-life challenges faced by our society through holistic, sust

ainable, and spiritual practices. Fou represents an alternative to the commercial model of mainstream galleries, and serves as a habitat that nurtures a harmonious relationship between the earth and ourselves.

否画廊成立于2013年，是一个位于纽约的新型有机艺术社区，坐落在一栋始建于1905年的褐石建筑复式公寓中。否画廊相信艺术是一种整体生活方式，并致力于推广和展示反映时代精神的艺术家和创意项目。我们认为当代艺术界应该推荐综合的、可持续、具有精神性的实践项目，并探讨当今社会面临的关键问题。否画廊是对现有商业画廊单一运营模式的抵抗，是探寻自我与自然和谐相处的精神栖息地。

09/06/2026

A lingering look back at last Sunday’s hat making workshop at Fou Gallery ✨

Together with He Yu Echo , we spent a quiet afternoon stepping back into 1920s glamour—painting fabrics with traditional Chinese mineral pigments, stitching everlasting fabric roses, and shaping delicate bird nest veiling into bespoke fascinators.

Each hat became a magician’s hat: holding a unique piece of memory, crafted only one for only you. Wearable art for special occasions, or a timeless decoration for home. 🕊️

Thank you to everyone who brought their creativity to the gallery. What story did your hat hold?

Upcoming session: September 24th evening

09/05/2026

Last Sunday, Fou Gallery transformed into an intimate sanctuary of creation as we gathered for a 2-hour millinery workshop with He Yu Echo . Together, we stepped into the timeless elegance of the 1920s and 30s to craft bespoke fascinators—delicate, sculptural headpieces designed to carry quiet secrets and personal memories.

Each hat became a magician‘s hat: holding a unique piece of memory, crafted only one for only you. Wearable art for special occasions, or a timeless sculpture for the home.👒

Thank you to everyone who brought their creativity to the gallery. What story did your fascinator hold?

✨ Highlighting 𝗚𝗹𝗼𝗿𝗶𝗮 𝗙𝗮𝗻 𝗗𝘂𝗮𝗻‘s 𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 015In 𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 015, Duan departs from the vase entirely. Cast branches, le...
09/01/2026

✨ Highlighting 𝗚𝗹𝗼𝗿𝗶𝗮 𝗙𝗮𝗻 𝗗𝘂𝗮𝗻‘s 𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 015

In 𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 015, Duan departs from the vase entirely. Cast branches, leaves, and seed pods are pinned within a shallow wooden frame, suspended against darkness like specimens in a vitrine. Rendered in cool translucent resin, the botanical fragments float without soil or stem, arranged with the deliberate asymmetry of ikebana yet held in the fixed logic of a herbarium sheet. The composition reads simultaneously as a night garden and a scientific record — a moment of growth arrested and preserved. Here the tension between garden and laboratory becomes explicit: nature is not merely reconstructed but catalogued, each fragment given the quiet dignity of something worth keeping.

𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 015 (2026)
Resin, steel pins, velvet, foam, wood, perfume | 15.25 × 40.5 × 2 inches

Part of 𝑻𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒆𝒏𝒄𝒆, on view July 11 – September 5.

✨ Highlighting 𝗧𝗶𝗮𝗻𝘀𝗵𝘂 𝗭𝗵𝗮𝗻𝗴’s 𝙉𝙤𝙩𝙚𝙨 𝙤𝙣 𝘽𝙞𝙧𝙙𝙨 𝙉𝙤.2In this work, sweeping currents of ochre, violet, and deep blue move a...
08/27/2026

✨ Highlighting 𝗧𝗶𝗮𝗻𝘀𝗵𝘂 𝗭𝗵𝗮𝗻𝗴’s 𝙉𝙤𝙩𝙚𝙨 𝙤𝙣 𝘽𝙞𝙧𝙙𝙨 𝙉𝙤.2

In this work, sweeping currents of ochre, violet, and deep blue move across the canvas like wind over water. Bird-like forms surface within the flow — a beak, a wing, a small red eye — before dissolving back into the field. A pale orb glows at the horizon, suggesting sky, sea, or something interior. Zhang’s brushwork carries the eye along its drift, evoking flight not as a subject observed but as a sensation felt from within.

𝙉𝙤𝙩𝙚𝙨 𝙤𝙣 𝘽𝙞𝙧𝙙𝙨 𝙉𝙤.2 (2026)
Oil on board | 10 x 8 inches

Part of 𝑻𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒆𝒏𝒄𝒆, on view July 11 – September 5.

✨ Highlighting 𝗧𝗶𝗮𝗻𝘀𝗵𝘂 𝗭𝗵𝗮𝗻𝗴’s 𝙉𝙤𝙩𝙚𝙨 𝙤𝙣 𝘽𝙞𝙧𝙙𝙨 𝙉𝙤.2In this work, sweeping currents of ochre, violet, and deep blue move a...
08/26/2026

✨ Highlighting 𝗧𝗶𝗮𝗻𝘀𝗵𝘂 𝗭𝗵𝗮𝗻𝗴’s 𝙉𝙤𝙩𝙚𝙨 𝙤𝙣 𝘽𝙞𝙧𝙙𝙨 𝙉𝙤.2

In this work, sweeping currents of ochre, violet, and deep blue move across the canvas like wind over water. Bird-like forms surface within the flow — a beak, a wing, a small red eye — before dissolving back into the field. A pale orb glows at the horizon, suggesting sky, sea, or something interior. Zhang‘s brushwork carries the eye along its drift, evoking flight not as a subject observed but as a sensation felt from within.

𝙉𝙤𝙩𝙚𝙨 𝙤𝙣 𝘽𝙞𝙧𝙙𝙨 𝙉𝙤.2 (2026)
Oil on board | 10 x 8 inches

Part of 𝑻𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒆𝒏𝒄𝒆, on view July 11 – September 5.

✨ Highlighting 𝗚𝗹𝗼𝗿𝗶𝗮 𝗙𝗮𝗻 𝗗𝘂𝗮𝗻’s 𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 011Dogwood flowers collected in New York rise from a misty glass vessel, the...
08/26/2026

✨ Highlighting 𝗚𝗹𝗼𝗿𝗶𝗮 𝗙𝗮𝗻 𝗗𝘂𝗮𝗻’s 𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 011

Dogwood flowers collected in New York rise from a misty glass vessel, their translucent petals arcing outward like crystalline traces of a remembered bloom. Cast in resin and glass, these flowers no longer live, yet they carry the quiet trace of organic life — preserved but not lifeless, artificial yet charged with tenderness.

𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 011 (2026)
Resin, steel pins, glass, monofilament, perfume | 18.25 × 19 × 14 inches

Part of 𝑻𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒆𝒏𝒄𝒆, on view July 11 – September 5. Curated by Helena Jin

✨ Highlighting 𝗚𝗹𝗼𝗿𝗶𝗮 𝗙𝗮𝗻 𝗗𝘂𝗮𝗻’s 𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 011Dogwood flowers collected in New York rise from a misty glass vessel, the...
08/26/2026

✨ Highlighting 𝗚𝗹𝗼𝗿𝗶𝗮 𝗙𝗮𝗻 𝗗𝘂𝗮𝗻’s 𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 011

Dogwood flowers collected in New York rise from a misty glass vessel, their translucent petals arcing outward like crystalline traces of a remembered bloom. Cast in resin and glass, these flowers no longer live, yet they carry the quiet trace of organic life — preserved but not lifeless, artificial yet charged with tenderness.

𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 011 (2026)
Resin, steel pins, glass, monofilament, perfume | 18.25 × 19 × 14 inches

Part of 𝑻𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒆𝒏𝒄𝒆, on view July 11 – September 5.



𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 011 (2026)
Resin, steel pins, glass, monofilament, perfume | 18.25 × 19 × 14 inches
detail image

𝙃𝙮𝙗𝙧𝙞𝙙 𝙉𝙤. 011 (2026)
Resin, steel pins, glass, monofilament, perfume | 18.25 × 19 × 14 inches

𝑻𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒆𝒏𝒄𝒆, on view July 11 – September 5. Curated by Helena Jin

08/25/2026

🔔 Another round of 𝗖𝗿𝘆𝘀𝘁𝗮𝗹 𝗥𝗲𝗶𝗸𝗶 𝗦𝗼𝘂𝗻𝗱 𝗕𝗮𝘁𝗵 & 𝗘𝘃𝗲𝗻𝗶𝗻𝗴 𝗧𝗲𝗮 — 𝗡𝗼𝘄 𝗕𝗼𝗼𝗸𝗶𝗻𝗴

Step away from the noise. Lie back. Let sound and energy move through you ✨

In this 2-hour session, practitioner 𝗠𝗲𝗹 𝗥𝗶𝗼 Mel Rio Sound and Reiki guides you into a meditative soundscape of Himalayan and crystal singing bowls, while channeling Reiki energy and placing crystals directly on the body to release stagnation and restore balance. The evening closes with a handcrafted herbal tea ritual 🍵

📅 Multiple dates available
🕖 7:00–9:00 PM
📍 Fou Gallery, 89 Fifth Ave, Manhattan
🔗 Book now — link in bio!

✨ Highlighting 𝗧𝗶𝗮𝗻𝘀𝗵𝘂 𝗭𝗵𝗮𝗻𝗴’s 𝑻𝒉𝒆 𝑽𝒂𝒔.In 𝑻𝒉𝒆 𝑽𝒂𝒔, ghostly forms cascade downward through veils of violet and periwinkle...
08/20/2026

✨ Highlighting 𝗧𝗶𝗮𝗻𝘀𝗵𝘂 𝗭𝗵𝗮𝗻𝗴’s 𝑻𝒉𝒆 𝑽𝒂𝒔.

In 𝑻𝒉𝒆 𝑽𝒂𝒔, ghostly forms cascade downward through veils of violet and periwinkle blue, resolving into pale, vessel-like shapes near the canvas’s base. A luminous orb glows at the painting’s center, anchoring the composition as flesh, spirit, and Qi merge into one another with an almost alchemical radiance. The title’s reference to a vessel resonates throughout the work — the body here is not solid form but container, something that holds and channels rather than simply occupies space. Zhang’s cool, dreamlike palette invites the eye to drift downward like water finding its level, tracing a passage from the ethereal toward embodiment.

𝑻𝒉𝒆 𝑽𝒂𝒔 (2026)
Oil on canvas | 24 x 48 inches

Part of 𝑻𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒆𝒏𝒄𝒆, on view July 11 – September 5. Curated by Helena Jin

✨ 𝐔𝐩𝐝𝐚𝐭𝐞𝐬 𝐟𝐫𝐨𝐦 𝐨𝐮𝐫 𝐑𝐞𝐬𝐢𝐝𝐞𝐧𝐜𝐲 𝐏𝐫𝐨𝐠𝐫𝐚𝐦 𝐢𝐧 𝐓𝐮𝐥𝐮𝐦, 𝐌𝐞𝐱𝐢𝐜𝐨.As sculptor and musician 𝗚𝗮𝗿𝘆 𝗙𝗿𝗲𝗱𝗿𝗶𝗸𝘀𝗲𝗻 wraps up his residency wi...
08/19/2026

✨ 𝐔𝐩𝐝𝐚𝐭𝐞𝐬 𝐟𝐫𝐨𝐦 𝐨𝐮𝐫 𝐑𝐞𝐬𝐢𝐝𝐞𝐧𝐜𝐲 𝐏𝐫𝐨𝐠𝐫𝐚𝐦 𝐢𝐧 𝐓𝐮𝐥𝐮𝐦, 𝐌𝐞𝐱𝐢𝐜𝐨.

As sculptor and musician 𝗚𝗮𝗿𝘆 𝗙𝗿𝗲𝗱𝗿𝗶𝗸𝘀𝗲𝗻 wraps up his residency with us in Tulum, we deeply reflect on the profound, quiet magic that happens when artists connect deeply with a new place.

Gary brings over 𝗳𝗼𝘂𝗿 𝗱𝗲𝗰𝗮𝗱𝗲𝘀 𝗼𝗳 𝗺𝗮𝘁𝗲𝗿𝗶𝗮𝗹 𝗺𝗮𝘀𝘁𝗲𝗿𝘆 to his practice—from his early days assisting 𝗞𝗲𝗶𝘁𝗵 𝗛𝗮𝗿𝗶𝗻𝗴 and 𝗩𝗶𝘁𝗼 𝗔𝗰𝗰𝗼𝗻𝗰𝗶 in 1980s New York to his teaching at Parsons. Rooted in his 𝗥𝗼𝗺𝗮𝗻𝗶 𝗵𝗲𝗿𝗶𝘁𝗮𝗴𝗲, Gary’s approach centers on foraging, walking, and listening to the environment. In Tulum, he gathered local woods and natural elements, shaping them into delicate sculpture studies under the Caribbean sun.

Toward the end of the residency, Gary was joined by his wife, artist 𝗪𝗲𝗻𝗱𝘆 𝗟𝗲𝘁𝘃𝗲𝗻 Wendy Letven, creating a shared pocket of time for collaboration and creation. Inspired by how local Mexican artisans “invent their own ways of making with very little,” she created a small watercolor of native Tulum plants for me—thoughtfully framed with paper and canvas. She also put together detailed notes to help guide future residency artists.

Moments like this remind us of what artist residencies are truly about: not just providing time and space, but building a 𝗰𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝘆 𝗴𝗿𝗼𝘂𝗻𝗱𝗲𝗱 𝗶𝗻 𝗴𝗲𝗻𝗲𝗿𝗼𝘀𝗶𝘁𝘆, 𝗿𝗲𝗰𝗶𝗽𝗿𝗼𝗰𝗶𝘁𝘆, 𝗮𝗻𝗱 𝗰𝗿𝗲𝗮𝘁𝗶𝘃𝗲 𝗱𝗶𝘀𝗰𝗼𝘃𝗲𝗿𝘆.

Thank you, Gary and Wendy, for the light and art you brought to Tulum.

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