Miami-based artists Susan Kim Alvarez and Cici McMonigle present new works at Latitude Gallery in Chinatown as part of Oh for Goodness Snake!, an exhibition curated by Heike Dempster. Timed to coincide with the Lunar New Year and the Year of the Snake, the show considers themes of transformation, renewal, and interconnectedness, drawing from mythology, personal history, and shared narratives.
Alvarez and McMonigle, longtime friends and studio mates, work with a blend of figuration and abstraction, incorporating elements of folklore, humor, and surreal imagery. Their paintings feature a mix of animals, human figures, and imaginary creatures, weaving together references to fables, family histories, and cultural symbols. Though distinct in their approaches, their works share a conversational quality, reflecting years of dialogue in the studio.
Set in Manhattan’s Chinatown, the exhibition also engages with questions of place and identity, offering a setting where themes of cultural inheritance and personal storytelling intersect. Curator Heike Dempster discusses the exhibition’s framework and the artists’ approach to its central themes.
The exhibition coincides with the Lunar New Year and the Year of the Snake. How did this theme influence your curatorial choices?
Most of the works in the show were created specifically for this exhibition. Some reference the Year of the Snake directly, while others approach it more subtly. When the gallery proposed the theme, I discussed it with the artists, and we saw it as an opportunity to explore ideas of transformation and continuity. The theme also holds personal significance for Cici McMonigle, who was born in China, adding another layer of meaning to the work.
The title, Oh for Goodness Snake!, suggests both playfulness and transformation. How did you and the artists arrive at this title?
The title reflects the artists’ dynamic and the tone of the work. It plays on language in a way that aligns with their approach—lighthearted but intentional. Given that this exhibition was something they had envisioned for a long time, there is also a sense of celebration in realizing the project.
The show explores transformation, renewal, and interconnectedness. How do Alvarez and McMonigle’s works uniquely engage with these ideas?
A key starting point is their friendship and shared working process. They have painted alongside each other for years, most recently at Bakehouse Art Complex in Miami, and for this show, many of the pieces were made in parallel. Alvarez’s compositions explore spatial relationships and layered storytelling, while McMonigle’s paintings bring in references to her Chinese and American background, incorporating figures like cowboys, lions, and snakes.
Humor appears throughout the exhibition. How do you see it functioning in relation to its deeper themes?
Humor is an important aspect of both artists’ work, but it does not diminish the complexity of their themes. Their paintings incorporate elements of whimsy and surrealism, sometimes exaggerating or distorting familiar imagery. They also created portraits of each other for the show, which reinforces the conversational nature of their practice. Their engagement with cultural heritage and identity is present but not didactic; instead, it emerges through layered storytelling and personal references.
What role does Chinatown’s location play in the exhibition’s narrative? Was site-specificity a consideration in your curation?
Latitude Gallery, led by Shihui Zhou, often highlights artists connected to the Asian diaspora, so the setting informed aspects of the exhibition’s development. We chose to align the opening with Lunar New Year celebrations, creating a connection between the show and the surrounding community. The gallery attracts a broad audience—from collectors and artists to local residents and visitors—which allows for multiple points of engagement with the work.
