Cavin-Morris is pleased to introduce the newest artists to the gallery:
The Dodo Bird, Over Clear Sky and Clear Water, 2026, Graphite on paper
22 x 30 inches, 55.9 x 76.2 cm, DDB 40
When Jonathan Sadowski was young and still in school, he was told by an unenlightened teacher that given his grades, he would never be able to become a pilot, calling him a Dodo Bird. In a form of karmic retribution, he flew solo in a small bush plane in the less populated Northern reaches of Ontario and (briefly) in Arctic Nunavut, Baffin Island region. He took the ‘brush” name of The Dodo Bird as a moniker of pride and accomplishment after he retired from flying. He began to make drawings of a universe of air and numinous beings who are his own pantheon of Nature and human spirits such as the wind, the clouds, and aspects of the weather and air itself, aspects of time, memories, anxieties, fantasies and joy that occupy what is no longer seemingly an empty or negative space but is actually a populating and activation of the energies and beings with a consistent animistic electricity. His drawings take us aloft with him where he meets the antagonistic and benevolent monsters manifested by and living within his own restless consciousness.
Margot, From the series Creatio Universalis: Mataki, n.d., Mixed media
39.37 x 27.56 inches, 100 x 70 cm, MAR 2
Margot was born in the French countryside, the youngest of three children. She still lives in the town where her working class, farmer maternal grandparents lived, as did her maternal great grandparents. She lives in her grandparent’s house, which she calls a luminous point—a focal point, emphasizing ancestral connection to the land, a grounding that she feels is essential for keeping one’s head in the world.
Given her long connection to the land, after graduating from high school, she studied to be a florist where she focused her energies for a few years. Of that time, she says “I completely forgot myself. I was neither happy nor fulfilled. We sometimes repeat paths in life that don’t belong to us. I needed to change to be in alignment with what was on the inside of me.” It was time for her to break free of family and societal codes transmitted upon her and become Margot, a change she refers to as alchemical; a second birth.
While as a student she drew as a matter of habit, but in 2014 she started drawing compulsively. It was a sudden thing that was hard to explain, but which she thinks was likely the beginning of releasing everything that had been stored inside for years; a kind of visionary outpouring of images. She says:
Since I opened my eyes to this Earth and the Cosmos, my body and my soul have perceived a multitude of information, emotions and events. I felt like my body so full it could no longer receive sensations from the outside. Often, I had a mental image of taking my hands and opening my body to help the flow of energy to come out. I had to find a means of communication. I have never been at ease in finding the right words and drawing instead imposed itself on me.
From that moment on, she decided that she would do everything, entirely in resonance with her profound convictions. “I felt as if I was a creator, giving birth to shape, which gets bigger every day, taking space and spreading. That is what I think now. A thought is never frozen. It evolves at each instant."
Those cognitions that come from unexpected sources, and the ability to represent the untranslatable, are at the very core of Margot’s works. She does not operate completely from the margins, nor is she outside the boundaries of society and its order, but she creates in a certain isolation and her relationship to society is largely beyond culture. She disassembles familiar concepts and ideas, crosses the border to the other side of reality and reveals the reverse side that is not available to everyone. She deconstructs the system and builds a new one, and everything, including language, is subject to the deconstruction.
She is above all a constructor of new worlds and, in architecture, which is a frequent motif of her works, and in the works themselves, she recognizes construction as primordially important. It is her obsessive idea of humanity, which has been striving towards the sky for thousands of years, in the desire to touch and know “something more”. With her works, Margot embodies the spiritus mundi, or perhaps rather the spiritus movens, the spirit that moves everything.
Excerpted from A Protected and Invincible Place, Colin Rhodes, Raw Vision Magazine, Issue #118, Spring, 2024, and I Burn In Sun, Moon and Stars, Margot, Museum of Marginal and Naïf Art, Belgrade, Serbia, written by Teodora Jeremić, Belgrade, 2023
New Arrivals at Cavin-Morris Gallery:
Solange Knopf, The Mind's Light, 2026, Colored pencil on paper
70.5 x 39 inches, 179.1 x 99.1 cm, SoK 153
Izabella Ortiz, Water Memories, 2026, Ink, watercolor, felt pen, colored pencil, acrylic paint on paper
97.75 x 51 inches, 248.3 x 129.5 cm, IzO 126
