Peripheral Sight

Harper’s is pleased to announce _Peripheral Sight_, a three-person presentation of painting and mixed media works by Laura Benson, Ho Jae Kim, and Marin Majić. The exhibition opens Thursday, June 25, 6–8pm, at Harper’s Chelsea 512. —— Stories begin where certainty ends. Long before maps were complete and logic was named, humans filled unknown territories with myths and worlds populated by monsters and spirits. These inventions were not failures of knowledge but attempts to live alongside uncertainty—to give shape to what could not yet be understood. The works gathered in _Peripheral Sight_ inhabit a similar space. Across painterly works, Laura Benson, Ho Jae Kim, and Marin Majić explore the ways images carry us toward things that remain just beyond comprehension. Narratives, archetypes, and wandering forms become tools for navigating the distance between experience and understanding. Kim's paintings explore the unstable relationship between observation and interpretation. Referencing literary, philosophical, and allegorical traditions, he constructs images in which perception itself becomes the subject. Familiar figures and narratives reemerge in altered forms, inviting viewers to consider how knowledge is shaped by memory, association, and inherited ways of seeing. Kim’s works exist between the seen and unseen, where meaning remains open, unstable, and ever-changing. For Benson, storytelling serves as a method of inquiry. Drawing from folklore, mythology, and personal narrative, she creates intimate works that pursue the elusive nature of meaning itself. Found materials and handcrafted processes become gateways through which ancient archetypes encounter contemporary questions. Her works acknowledge that uncertainty cannot be conquered, only approached. Majić's paintings offer landscapes of passage. Caverns open onto distant horizons, interiors dissolve into atmosphere, and familiar environments become dreamlike terrains. His works suggest that discovery is not a destination but a continual movement toward something that remains partially hidden. The exhibition's title evokes the threshold of vision, where forms first emerge and likewise, where they dissolve from view. Peripheral sight is not the clarity of direct observation but the awareness of possibility; it speaks to the sensation that something is present just beyond the reach of perception—just beyond what can be grasped. For Benson, Kim, and Majić alike, meaning arrives through information gathered outside the point of fixation. What remains unseen is not empty, rather, it is the point from which imagination begins.