Greg Carideo
June 3rd, 2025

Greg Carideo was born in. 1986, in Minneapolis, MN, and lives and works in New York. He received BFA from Minneapolis College of Art & Design, Minneapolis in 2008 and an MFA from New York University in 2015. His work has been exhibited in solo exhibitions at Public Gallery, London in 2025; In Lieu, Los Angeles in 2024; Foreign & Domestic, New York in 2023; FR MoCA, Fall River in 2022; an GRIMM, New York in 2021. His work has been featured in recent group exhibitions at Silke Lindner, New York; Pangée Gallery, Montreal; 12.26 Gallery, Dallas; Galerie Nicolas Robert, Montreal; Margot Samel, New York; Public Gallery, London; ICA, Portland; and International Objects, New York. Several of Carideo’s exhibitions have garnered press, including a New York Times review for his solo exhibition, Dog Eared Reverie at Foreign & Domestic in 2023, a BOMB: Studio Visit for his solo exhibition ground work at Public Gallery in 2025, as well as group exhibitions featured in Cultured Magazine, Artforum, and the New York Times.

Matt Taber/International Waters
Landscapes of Fear, 5.2.2025 - 6.22.2025
May 20th, 2025

Complete playlist below; tracks in yellow were cut for time.

1. Arkansas Coal, Nancy Sinatra, Lee Hazlewood, 1972
   
2. Into the Void, Black Sabbath, 1971
   
3. Welcome to My Nightmare, Alice Cooper, 1975
   
4. Fire, The Crazy World Of Arthur Brown, 2010
   
5. I'm a Gun, Lorne Greene, 1966
   
6. Walkin' After Midnight, Patsy Cline, 1957
   
7. Indian Love Call, Slim Whitman, 2010
   
8. The End of the World, Skeeter Davis, 1994
   
9. River Stay 'way from My Door, The Boswell Sisters, 2013
   
10. Down By The River, Buddy Miles, 1970
11. In the Year 2525, Zager & Evans, 2006
    
12. Highways, Jim Sullivan, 2010
    
13. It Never Rains in Southern California, Albert Hammond, 1972
    
14. I Can't Stand the Rain, Ann Peebles, 1974
    
15. Little Child Runnin' Wild, Curtis Mayfield, 1972
    
16. Let's Burn Down The Cornfield - 2006 Remaster, Lou Rawls, 1970
17. Synthetic World, Swamp Dogg, 2008
    
18. On a Clear Day You Can See Forever, The Peddlers, 1993
19. In My Room, The Walker Brothers, 1990
    
20. Hospital, The Modern Lovers, 1976
    
21. Don't Go Near The Water, The Beach Boys, 1971
    
22. I'm Afraid of Americans, David Bowie, 1997
23. Black Hole Sun, Soundgarden, 1994
24. Darklands, The Jesus and Mary Chain, 1987
25. I Guess the Lord Must Be in New York City, Harry Nilsson, 2013
26. I Had Too Much to Dream Last Night, The Space Lady, 2013

Landscapes of Fear

Andre Yvon, Andy Kincaid, Brandi Twilley, Bruno Smith, Bryce Kroll, Cait Porter, Carlos Rigau, Chang Sujung, Charlotte vander Borght, Daniel Boccato, David Bordett, Greg Carideo, Jason Murphy, Jeff Williams, Jen Mazza, Lino Bernabe, Lucia Love, Marie Lorenz, Nate Heiges, Nick Irzyk, Nicholas Sullivan, Olivia Drusin, Patrick Carlin Mohundro, Philip Hinge, Pooneh Maghazehe, Quincy Langford, Rudolf Samohejl, Seung-Min Lee, Shaina Tabak, Shaun Krupa, Tuguldur Yondonjamts

"What begins as undifferentiated fear can take on the sharp outlines of a place."
Yi-Fu Tuan, Landscapes of Fear, 1979

International Waters presents Landscapes of Fear, a group exhibition exploring how fear materializes within our environments, shaping the spaces we inhabit and influencing our interactions with them.

In 1884 at the London Institute, John Ruskin delivered two lectures which would later be titled The Storm-Cloud of the Nineteenth Century, offering a critique of the atmospheric and moral decline of England, as perceived through his detailed observations of the sky. In his art criticism and philosophy, Ruskin defined the artist as an instrument of perception, attuned to the structures and meanings of the surrounding environment — and vulnerable to the environment’s corruption. In his observations of the sky, what Ruskin confronted was not a mere shift in weather, but rather the collapse of a coherent natural order under the conditions of industrialization. As new forms of labor severed human experience from the environment, the surrounding landscape, once embodying purity and the sublime, degraded into a formless and polluted field. As the environment deteriorated, so too did the artist's faculty of representation, mirroring a broader erosion of aesthetic sensibility and the social frameworks of daily life.

For Ruskin, the collapse of the natural world stripped the artist of perceptual agency, immersing them in an environment where the boundary between nature and artifice had dissolved. As the landscape's coherence unraveled, it transformed into a terrain marked by psychic disruption and material change. This disintegration of natural order revealed how fear organizes space, imposing fragmentation and instability onto the very ground of experience. That dynamic has only deepened with time, expanding into the digital, political, and ecological systems of the present — environments saturated not with soot but with surveillance, displacement, and accelerating collapse.

In the text that lends its title to this exhibition, Yi-Fu Tuan describes how fear extends outward into space, conditioning pathways and territories that frame how bodies inhabit the world. While Ruskin’s storm-cloud was a symptom of material and moral degeneration, the contemporary storm-cloud is diffuse, embedded within the infrastructures that mediate perception itself. Within this unsettled field, the artist is again positioned as both instrument and respondent, grappling with landscapes that are no longer stable grounds for meaning.

Responding to this precarious and shifting reality, the artists in Landscapes of Fear explore various modes of representing the underlying instability that characterizes our contemporary environments:

Chang Sujung’s plein air painting of Central Park, Mobile Observer 22, is rendered within the self-enclosed space of a shirt cuff. This imposition of the panorama, contained by the formal attire of labor, suggests a landscape mediated by societal roles—a world internalized and perhaps constrained by the very structures of the observing subject.
In the painting Portent 2, Jen Mazza revisits a fragment of Titian’s 12-block woodcut The Submersion of Pharaoh’s Army in the Red Sea (1514-15). A moment frozen after the cataclysmic event, the painting operates as a diagram of affect, isolating the linework from the original print to express the spatial and emotional disorder of the landscape following the destructive collapse of the sea over the Egyptian army.
In Lost Body, Shaun Krupa presses his body into slumping mud, creating a sculptural cavity of his shape within a geometric slab. Recalling Mesoamerican burial chambers, Krupa examines the process of the body returning to the earth. His imprint functions as both absence and presence, emphasizing where the boundary between self and environment dissolves.
In a pair of paintings, Brandi Twilley confronts the memory of her family's house fire, representing the destructive force and the subsequent aftermath. This visceral depiction highlights how fear can become deeply embedded within the spatial memory of a place, particularly when the very structures of dwelling and material stability are violently erased.
Bryce Kroll’s False Echo centers on a commonplace tool used to shape the natural environment — a used ECHO SRM-266 weed wacker which he found at auction from the NYC Department of Corrections. Kroll likens the process of landscaping to an aesthetic pursuit -- through a series of reproductions and manipulations to the weed wacker’s form, the object becomes a multifaceted symbol: a tool used to “civilize the chaos” of nature, an artifact with provenance linked to institutional labor, and an instrument whose re-formed existence reveals the landscape through the lens of its own manipulation.

In this exhibition, the artistic examinations of the surrounding landscape unfold within a contemporary context increasingly defined by pervasive and unseen systems of influence shaping our interactions and understanding of space. Surveillance capitalism, with constant monitoring, algorithmic sorting, and the conditioning of behavior, defines a distributed landscape of fear, a terrain now characterized by the deceptive reach of data extraction and predictive control, rather than solely by material degradation. Within this climate, a palpable anxiety permeates the social fabric, a sense of vulnerability and encroaching authoritarianism that colors our experience of even the most mundane spaces, leaving individuals to navigate a terrain where the grounds of autonomy and trust feel increasingly fragile.

Nick Irzyk
May 6th, 2025

In this music-heavy show, painter Nick Irzyk brings a banging mixtape ranging from anarcho-punk to Finnish black metal to country.

We discuss his journey from the hardcore and skateboarding scene to zine-making, eventually leading to printmaking in college.

His paintings incorporate diagrammatic abstractions that resemble architectural blueprints or speculative spaces. The grid is a key structural tool, breaking forms into individual "cells" akin to a mirror ball or wireframe model—machines that hint at function but never fully activate.

There is a tension between clarity and ambiguity: in form versus space, scale, and references to industrial or institutional interiors like cockpits and nuclear reactors. These sometimes oppressive spatial compositions, force the viewer into tight confrontations with looming structures.

Underlying much of the work is a meditation on power—its potential energy, withheld force, and the emotional charge that creates a sense of terror through restraint and latent movement.

Complete playlist below; tracks in yellow were cut for time.

1. Her Friends the Wolves, Coil, 1992
   
2. Rauch-Haus Song, Ton Steine Scherben, 1972
   
3. Hand of Doomish, Vincebus Eruptum, 2008
   
4. Good Lovin’ Outside, BBC Version, Animal Collective, 2004
   
5. This Ol’Cowboy, Marshall Tucker Band, 1974
   
6. My Head is My Only House Unless It Rains, Captain Beefheart, 1972
   
7. Samurai, Alan Vega, 2021
   
8. Spirit of the God of Fire, Beherit, 2007
   
9. Wrath of Zeus (Original Mix), The Eternals, 2000
   
10. GeekUSA LateNiteTip, Gobby, c. 2012
    
11. I Lied When I Said I Liked Your Zine, Charles Bronson, c. 1994-7
    
12. Speed of Greed? Crass, 1983
    
13. A Cowboy Overflow of the Heart, The Avalances & David Berman, c. 2012
    
14. Spinebender, Godflesh, 1988
15. Haunted & Nervous, Sizzla, 1996
    
16. Flowers, Chug, 1992
17. Some Came Running, Bane, 2001
18. The Knife Song, Milk
19. Free, Chakra, 1981
    
20. 1471, Babyfather, 2022
    
21. To Hold You, Minimal Man, 1985
22. Quin Boys II, Jandek
    
23. Just Your Love, The Antennas

Nick Irzyk was born in 1988 in New Bedford, Massachusetts. He received his MFA from Virginia Commonwealth University in 2014. Select exhibitions include: Jack Barrett, New York (solo), Martos Gallery, New York (solo); Fall River MoCA, Fall River; KDR, Miami (solo); Nexx Asia, Taipei, TW; PMAM, London, UK (solo); Mana Contemporary, Jersey City, NJ; My Pet Ram, New York; Ruschman, Chicago, IL; Afternoon Projects, Vancouver, Canada; Syracuse University, NY (solo); Critical Path Method, New York/Baltimore (solo); No Place Gallery, Columbus, OH; The Pit, Glendale, CA; 247365, New York, NY; and 106 Green, Brooklyn, NY (solo), among others. He was a Keyholder Resident at the Lower East Side Printshop, New York, NY, in 2019-2020. He has co-run A.D.NYC in the lower Manhattan since 2019. He lives and works in Brooklyn, NY.

Songs of Obsession
April 8th, 2025

For this music-only episode, host Nate Heiges brings songs of obsession and longing. Get ready for some Spring Fever...

1. We All Wear a Green Carnation; from Noel Coward's 1929 operetta ‘Bitter Sweet’: Michael Chance, Tom Griffin, Clive Walton, David Kinder, 2018
   
2. You Do Something to Me, Sinéad O'Connor, 1990
   
3. Blue Skies, Maxine Sullivan, 1998
   
4. Seasick, yet Still Docked, Morrissey, 1992
   
5. I Only Have Eyes for You, Tashaki Miyaki, 2015
   
6. Somebody to Love, Barbara & Ernie, 1971
   
7. Love Will Tear Us Apart, PJ Harvey & Tim Phillips, 2024
   
8. I Won't Be Free After Sunday, Female Species, 2021
   
9. Babe I'm Gonna Leave You, Led Zeppelin, 1969
   
10. Why Don't You Do Right (Get Me Some Money Too), Peggy Lee, 1948
    
11. I Can't See Nobody - Daniel Y. Remix, Nina Simone, Daniel Yaghoubi, 2006
    
12. Wicked Game, Chris Isaak, 1989
    
13. The Silence Said It All, Female Species, 2021
    
14. The Look Of Love, Pt.1, ABC, 1982
    
15. Speedway, Morrissey, 1994
    
16. A&W, Lana Del Rey, 2023
    
17. All I Want, Joni Mitchell, 1971
    
18. I'm Gonna Leave You - The Cinematic Orchestra Remix, Melanie De Biasio, The Cinematic Orchestra, 2015
    
19. Midnight Monday, And A Telescope, Cotton Jones, 2008
    
20. Transmission for Jehn: Gnossienne No 1 - Exclusive Spoken Word, Geoffrey Muller, Tierney Malone, 2020
    
21. Uno che grida amore, Ennio Morricone, 2006

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