Rebecca Camacho Presents is pleased to announce the third exhibition of Los Angeles based gallery artist Christy Matson, Even so, opening on 15 January, to align with SF Art Week.

In one of her most personal and self-reflective series, started in early 2025, as Los Angeles was on fire and social and political unease felt close and constant, the works that became Even so began as small, improvised sketches. Made with a constellation of Christy Matson’s studio remnants; leftover watercolors and watered down acrylics, a mix of brushes (some half-dried, sometimes sponges), and papers pulled from other projects. Rather than functioning as preparatory studies, these sketches became the cerebral grounding for the exhibition … a way of moving through mental and, sometimes, physical paralysis by staying close to making itself.

On days when intention (or attention) felt impossible, Matson set aside agenda and focused on repetition as a method … mark after mark, without hierarchy or demand for resolution. Over time, a visual language emerged through accumulation. The watercolors took the form of pared-down landscape diagrams; an occluded sun in a washed-out sky, silhouettes of hills or shrubs, a zigzag mountain line, fields of dots that gather like spores, ash, or data points. A muted smoke-palette of gray, teal, sage, rust, with occasional acidic yellow, keeps the work tethered to atmosphere as a shared medium - what moves between bodies, plants, systems and communities.

Bringing the studies to fruition in her signature practice incorporating traditional, analog modes of weaving with new digital technologies afforded by the Jacquard TC2 loom, Matson gave those atmospheric conditions a material form, a surface to return to and read over time. With many of her woven works kept intentionally small to retain a sketch-scale immediacy, resolved, but still provisional, Matson found that joy enters here not as escape or consolation, but as something practiced through attention. Even so names that position; joy is not deferred until conditions improve but generated through a continued engagement with uncertainty. If the early sketches were about maintaining contact between hand, material, and time, the resulting woven works extend that logic outward.

Embracing a process that is slow, repetitive, and embodied, Matson’s pace isn’t escapism, it’s counter-programming – training her capacity to stay with complexity without demanding instant resolution. Even so creates tangible space for the works to occupy. Conditions remain unstable. The world is unresolved. And nevertheless, we continue … making, connecting, and finding forms of joy not outside the trouble, but squarely within it. The work isn’t a solution; it’s a practice for staying awake to what we owe each other.