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Reliquary : A Gallery of Altars; Opening & Reception


An altar is a sanctified place of worship- a home wherein spirit resides, however briefly. Here, offerings are made, hearts are touched, and the spirit of deities, saints, or ideas can speak to us, and we can speak back. 


Join Catland Books as we open our gallery to a selection of local artists, who will transform the space into a chapel housing an array of unique devotional altars, for innumerable gods- both real and imaginary, and some in-between. 


10/21 7pm-9pm : Gallery Opening & Reception

House brewed tea & wine available

Performance by Alexis Karl : THE BLOOD SUITE

THE BLOOD SUITE is a gothic dark ambient experience with soaring vocals, droning cello, and cinematic noise. This piece is composed of incantations from Egyptian Book, a summoning of ancestral spirits, and a call for reanimation.

It is a poem, a spell, a story told in song.


Gallery open nightly (unless a class is in session)

Sun - Thurs : 6-8pm

Fri & Sat : 6-9pm

11/4 7-9pm : Gallery Closing & Reception

House brewed tea & wine available, group ritual at 8:30pm


Admission is free, but donations are appreciated to fund the space.






My work explores lifting the veil between our world and the spirit realms. Borrowing from death to bring new life, the alter calls forth hybrid creatures from unknown worlds. They are harbingers of our human imaginations: manifestations of our dreams. The sculptures offer a resting place for these hybrid familiars, and reverberate in a volley of light and dark, life and death.

Bound in ritual, the work embraces this mortal coil while reaching into the realm beyond. It is a celebration and artistic interpretation of oracular and familiar magic.



Simone is a Staten Island based movement and visual artist (and occasional jazz singer) currently exploring seedkeeping and art-making, personal and familial cooking practices, African-American and African Diaspora foodways and composting.



I use film photography as a way to fight the traumas I experience as a first generation Afrolatinx person, who also happens to be queer and spiritually radical. My art is a way for me to tackle the issues our society has against minorities and the less "powerful"; people like my ancestors. 

Film photography is my starting foundation. The process of creating somthing on film is something I hold a romantic relationship with. I combine it with video, digital art pieces, and installations. I am a documentor, only manipulating images very slightly in order to get the full point accross. I am currently exploring the relationship people in our current society have withimages.Learning about our infatuation with the now and at always having 24/7 access to images. We areliving in a digital age, despite that I only shoot with analog cameras.These film images and convertedto a digital space with scanners. By digitizing these analog images, I am bending the rules and combining the old with the new.By combing the two, accessible digital processeswith the inaccessible medium of film, I am creating a space in where time does not exist.

My current style is to document people of color in a direct light; showing my audience these subjects in their raw forms.I hope to tackle the injustices that occur in brown and black people’s lives, but as well as the joy that they experience on a day to day.



Having worked as a fashion photographer, I began this series as a way to resolve the personal issues I have with creating images that perpetuate such a narrow acceptance of female beauty and sexuality. This series culminated as I sought to channel my experience with in that industry with my knowledge of the darker side - the body manipulation, the exploitation of young girls, the message that women need to fit such a narrow beauty ideal— and subvert those ideals. I’ve seen women objectified in many different ways, from unwanted sexual advances to cruel criticisms of their bodies. We are inundated with images created in an atmosphere where that treatment is acceptable. Here I push back with an alternative to add to the collective unconscious, where all women are glorified, not just those deemed worthy due to their youth, size, and conventional beauty.



I am fascinated with intersections of Indian and American culture. Most notably, I find similarities between Hindu mythology, astronomy, and the Kantian sublime. The monolith from 2001: A Space Odyssey reminds me uncannily of the Hindu goddess of time and destruction, Kali. 

I chase glimpses of cosmic power, wondering at the infinite expansion of the universe and the possibilities for intelligent life outside of Earth. I depict meetings of humans with the unknown in a mystical universe. I paint on and embroider digital collages. Combining folk art and digital image creation mirrors the melding of ancient myth and modern knowledge.





Aisha Shillingford is a Trinidadian born and bred artist living in Bedford Stuyvesant, Brooklyn. Her work is primarily mixed media collage and assemblages with found objects. Her work in collage allows her to juxtapose otherwise irreconcilable identities, ideas and fantasies. Aisha is currently exploring themes of home and belonging through the lens of migration, searching, third culture straddling, mestizaje and creolization. She looks at how new ideas and creativity emerge from the margins, borders, and in-between spaces. She uses found objects in her work because she is inspired by the alternative value of discarded things.

Aisha is a member of Intelligent Mischief, a creative action design lab that works with social justice organizations and activists to harness art, pop culture, story telling and design thinking to help make their organizing more effective.

She is inspired by conceptual artists like El Anatsui, Nari Ward, Ai Wei Wei, Nick Cave and Monica Canilao.





nadahada is the collaboration between Juliana Fadil-Luchkiw and María Paz Valenzuela. It synchronously emerged from an undergraduate class in 2014 at The New School in NYC. Their work pieces together a trans-feminist, queer migrant eco-collage through an interdisciplinary process that performs non-surgical forms of cultural castration with digital technologies, trash, and yarn. They have shared work in many different venues, including Museum of Contemporary Art in Miami, FL, The Church of Fun in Los Angeles, CA, Icebox Project Space in Philadelphia, and The Gallatin Gallery at NYU, Parsons School of Design, and The Glove in NYC. They were also 2016 participants at Residencia Corazón in La Plata, Argentina.



Alex Chowaniec’s drawings, paintings, and media projects engage intertwined questions of technology and the body; a gendered body as a social technology, and a national body as enviro-political mythology. —Jarrett Earnest

The democratization of access to art is critical. My goal is to expand how we achieve this, working in hybrid media (traditional and new) with the conscious goal of creating multiple access points for viewer engagement. Alternative spaces provide a vehicle to change the way we make art, engage with art and reach out to community through flexible sites for exhibition, education and organizing.