Uman's latest exhibition at the Aldrich Museum in Connecticut is a testament to her unique artistic voice and introspective approach. A sprawling body of work that deftly blends landscapes, abstraction, and personal narrative, the show showcases Uman's ability to distill complex emotions into tangible, physical forms.
The impetus for this exhibition came from Amy Smith-Stewart, the chief curator at the Aldrich Museum, who offered Uman her first solo museum show. For Uman, this was a long-awaited opportunity that felt comfortable and natural, thanks in large part to Smith-Stewart's enthusiasm and support.
Uman has always been hesitant to engage with the commercial art world, preferring to maintain a sense of independence and autonomy in her creative practice. This ambivalence towards institutional expectations is reflected in her work, which often eschews traditional notions of form or function in favor of a more intuitive, expressive approach.
The exhibition itself is characterized by soft colors, meditative surfaces, and a sense of calm abstraction that belies the turmoil and chaos that Uman describes experiencing in recent years. From the turmoil of global politics to the personal losses she has suffered, Uman's work is a deeply introspective exploration of her own inner world.
Yet, despite this sense of emotional intensity, the paintings themselves are remarkably physical – layered, textured, and imbued with a sense of physical labor that belies their meditative quality. This paradox is perhaps most evident in the show's centerpiece, a sprawling sculpture that incorporates a repurposed street lamp as its central motif.
The appeal of this work lies in its liminal status: an industrial object that has been transformed into something accidental and beautiful. For Uman, the street lamp represents a sense of safety, comfort, and community – qualities that are both deeply personal and universally relatable.
As we leave the exhibition behind, it is clear that Uman's intention was not to convey a message or impart some kind of moral instruction, but rather to create a space for contemplation and reflection. Her work invites us to slow down, observe, and engage with our own inner worlds – to find joy in the simple act of creation.
Ultimately, this exhibition is a love letter to Uman's life, both on and off the canvas. As she prepares to embark on a new chapter in her artistic journey – one that will take her from New York State to the south of France – it is clear that her work will continue to be a source of inspiration and solace for all who encounter it.
The impetus for this exhibition came from Amy Smith-Stewart, the chief curator at the Aldrich Museum, who offered Uman her first solo museum show. For Uman, this was a long-awaited opportunity that felt comfortable and natural, thanks in large part to Smith-Stewart's enthusiasm and support.
Uman has always been hesitant to engage with the commercial art world, preferring to maintain a sense of independence and autonomy in her creative practice. This ambivalence towards institutional expectations is reflected in her work, which often eschews traditional notions of form or function in favor of a more intuitive, expressive approach.
The exhibition itself is characterized by soft colors, meditative surfaces, and a sense of calm abstraction that belies the turmoil and chaos that Uman describes experiencing in recent years. From the turmoil of global politics to the personal losses she has suffered, Uman's work is a deeply introspective exploration of her own inner world.
Yet, despite this sense of emotional intensity, the paintings themselves are remarkably physical – layered, textured, and imbued with a sense of physical labor that belies their meditative quality. This paradox is perhaps most evident in the show's centerpiece, a sprawling sculpture that incorporates a repurposed street lamp as its central motif.
The appeal of this work lies in its liminal status: an industrial object that has been transformed into something accidental and beautiful. For Uman, the street lamp represents a sense of safety, comfort, and community – qualities that are both deeply personal and universally relatable.
As we leave the exhibition behind, it is clear that Uman's intention was not to convey a message or impart some kind of moral instruction, but rather to create a space for contemplation and reflection. Her work invites us to slow down, observe, and engage with our own inner worlds – to find joy in the simple act of creation.
Ultimately, this exhibition is a love letter to Uman's life, both on and off the canvas. As she prepares to embark on a new chapter in her artistic journey – one that will take her from New York State to the south of France – it is clear that her work will continue to be a source of inspiration and solace for all who encounter it.
, we drove across the country and stopped at this tiny little diner in Nebraska that had the best burgers ever 
. I swear, it was like a flavor explosion in your mouth! We ended up staying there for hours just chatting and enjoying the food... anyway, back to the exhibition - have you ever noticed how some people's artwork makes you feel all emotional and stuff? For me, Uman's art is like that too 
. It's like she's taking all these heavy feelings and turning them into something beautiful and calming... I don't know, maybe it's just me, but sometimes I need to see some art that's a little more intense than the usual coffee-table fare 
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. Like, Uman's stuff does have this calming effect on you, but at the same time, there's this underlying sense of turmoil that makes you wonder what's going on in her head 
. It's like she's trying to tell us something, but also not really trying to tell us anything 
. I mean, who needs a message when you can just create something beautiful and leave it up to interpretation? 
The Aldrich Museum is definitely doing its part to promote art that's more about feeling than thinking, which is...interesting 
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. And Amy Smith-Stewart as the chief curator - isn't that just like our role models in politics, trying to amplify underrepresented voices and give them a platform to shine? 
. And at the same time, they're so calming and soothing - I love how she uses colors and textures to create a sense of balance 
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. It's like she's saying, 'Hey, take a moment to breathe, observe your own emotions, and just be.' And that's something we all need more of in our lives, imo 
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. Can't wait to see what Uman does next 
Uman is definitely an artist who's going to make a lasting impact.
. Uman's art is like a warm hug for your soul, you know? She's got this way of capturing complex emotions in these soft, calming colors that just draw you in 
. And I love how she's not afraid to experiment and push boundaries - it's like she's speaking her own language, and we're all just trying to decipher it 
. The way she incorporates found objects into her work is so cool too! Like, who would've thought a street lamp could be transformed into something beautiful? 
. Anyway, if you haven't checked out this exhibition yet, DO IT! Your inner world (and your Instagram feed) will thank you 
#UmansArt #AldrichMuseum #ExhibitionLove
I just saw this exhibition at the Aldrich Museum and I'm still thinking about it... Uman's art is so unique, you know? She takes these big emotions and breaks them down into these soft, calming pieces that feel like a warm hug on a bad day 
. And that street lamp thing? Genius! I love how it represents safety and community in such a weird way 
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. Like, Amy Smith-Stewart offered her the first solo museum show, but what led up to that? How did Uman know she was ready for this level of exposure? And don't get me wrong, the art is stunning, but I wish we got a bit more insight into Uman's thought process behind certain pieces 
. And that sculpture center piece? Mind blown 
. It's like she took something mundane and turned it into something magical.
, but I just finished reading about this exhibition and I gotta say, it sounds SO cool!!! I love how Uman's art is like a reflection of her inner world – it's so introspective and emotional, you can almost feel the turmoil she's been through. And that sculpture thingy with the street lamp? Genius! 
It's like she took something ordinary and turned it into something beautiful and meaningful.
Like, I was expecting to see some crazy abstract mess, but she actually did this soft color palette thing that's just mesmerizing 
And that repurposed street lamp? Genius! Who wouldn't want a piece of art that feels like home 
I think what I love most about Uman's work is how it's so personal and introspective, yet still super relatable 
️. The way she uses industrial objects in her work is so hauntingly beautiful, it's like she's taking the broken pieces of life and turning them into something whole again 
. Can't help but feel a sense of admiration for her willingness to be vulnerable and share that with the world 
, and can we pls stop romanticizing street lamps being symbols of safety? like, what about all the ppl who cant afford to live in a cozy place with a street lamp outside their window? 
I mean, Uman's use of color and texture is just mesmerizing 
i'm so glad amy smith-stewart gave uman her first solo museum show – she's been hiding her talent from us for way too long 
can't wait to see what uman does next!