Ward Gallery

Taking the form of mixed media painting and illustrated ceramic vessels, Astrid Terrazas’s (b. 1996) symbolic work re-writes worlds. With unflinching vulnerability, Terrazas conveys stories that push personal and communal trauma towards tangible healing. Working in an illustrative, highly detailed style, Terrazas’s multimedia paintings resemble a visual dream diary full of transient figures, archaic symbols, and complex new realities. Merging dreamscapes, Mexican ancestral folklore, lived experiences, and unearthly transfigurations, Terrazas’s personal range of recurring motifs function as artifacts of protection and evoke universal metaphors of transformation. Terrazas received her BFA in Illustration from Pratt Institute in 2018. She has exhibited work at P·P·O·W, New York, NY; Y2K Group, New York, NY; Andrea Festa Fine Art, Rome, Italy; Marinaro, New York, NY; Fort Makers, New York, NY; Gern en Regalia, New York, NY; Front Gallery, Houston, TX; 98 Orchard St, New York, NY; Nicodim, New York, NY; Lyles & King, New York, NY; Art in Common, Los Angeles, CA; Deli Gallery, Mexico City, Mexico, and UTA Artist Space, Los Angeles, CA; among others. Her work has been featured in articles in Art in America, Art Maze Mag, The Art Newspaper, The Brooklyn Rail, and Elephant Magazine. Terrazas was featured in 52 Artists: A Feminist Milestone at The Aldrich Contemporary Museum of Art, Ridgefield, CT in 2022 and Perhaps the Truth at Ballroom Marfa, Marfa, TX in 2023. In 2024, Terrazas presented solo exhibitions with Lodos Gallery at Condo Mexico City, Mexico, and FOUNDRY SEOUL, South Korea and presented in Ward’s inaugural group show New York…NOW!

‍Ward is a New York–based independent gallery and curatorial project founded in 2024 by Saam Niami and Gabrielle Richardson.  Known for landmark group exhibitions “New York…NOW!” and “Mélange” in Paris, Ward has quickly become a touchstone in New York’s emerging scene, domestically and abroad. Ward’s mission is to highlight young artists engaged in critical investigations of society through rigorous practice and aesthetic brilliance. Project-based and community-oriented, Ward has attracted both grassroots audiences and institutional recognition. At a moment when many claim “the emerging art world is dead”, Ward insists on artistic excellence over private interests.

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