Delay in Glass is curated by Dominic Palarchio. It is presented at Palarchio’s Auto Service from July 19-August 2, 2026, and includes works by Alivia Zivich, Dominic Palarchio, Dylan Spaysky, Henry Belden, Isabel Mallet, Joseph Brock, Joseph Smith, Liam Neff, Phoebe Nesgos, Travis Fairclough, Zaid Arshad, and Zeshan Ahmed. For inquiries please contact dompalarchio@gmail.com
In the early stages of their usage, they were meant to be part- functional and part-ornamental.
Oil creates the illusion of a completely changed life, life without work, life for free. Oil is a resource that anaesthetises thought, blurs vision.
The image is atomised— into light, scenery, and colorant.
This work uses printmaking and other forms of technological mediation to process the extreme proliferation of images. It was created using hydrographics, a water transfer method often used to apply images onto 3D objects like auto parts.
SPH CYL AXIS
OD -1.25 -2.50 170
OS -2.25 -2.00 012
I don’t remember where this foam came from. People just give me foam and I glue it together.
Pressed, gravity against machine, four hands are workers again A great good at home, one preserved in tedium and feltDriven by repetition
Stay, split-second-ness of breath against glass. Those weightless Deaths, like, when a red-crowned pecker flung
Against a mirrored window.
Everything comes and goes. Like looking at a nearly full moon, unclear if it waxing or waning, it can be hard to tell the direction of a moment. There is a clearing outside the binary. Where nothing comes or goes. A field of the unknowing. A perfect place to build a home
A victim is tricked into holding a cup of water against the ceiling using a broomstick, only to realize they are trapped
goyā : ‘as if, Saying, speaking; a speaker, singer;
loquacious, talkative; the tongue; a singing-bird; well- tuned (instrument); thus, in this manner, as you would say, as it were; chiefly, principally, apparently, probably’.
to read messages scratched on planets
disgrace that dictionary: a place where everything was attached to a meaning
like the first person to taste snow
after such knowledge what forgiveness? goyā what delay?
The reflected light of one room enters a permeable obstruction. A dark room is installed as a valve between two rooms. A projected image leaks a representation of another room that changes.
Dominic Palarchio
Regions Untormented, 2026
1963 Pontiac Grand Prix, felt
60 x 78 x 217 (152 × 198 × 551 cm)
Phoebe Nesgos
Somatophylax, 2026
Oil on linen
78 x 51 inches (198 x 130 cm)
Travis Fairclough
Untitled 01, (I want to go to heaven but I don’t know how), 2025
Watercolor on paper
Paper: 18 x 24 inches (45.7 x 61 cm)
Frame: 24.5 x 36.5 inches (62 x 92 cm)
Henry Belden
Splat, 2026
Chair
36 x 34 x 18 inches (91.4 × 86.4 × 45.7 cm)
Dylan Spaysky
IKEA Kettle, 2020
Upholstery foam, glue
9.5 x 10.5 x 8 inches (24 × 26.7 × 20.3 cm)
Joseph Brock
Cascade Frame Mini (C.5), 2026
Acrylic, carbon pigment, graphite, colored pencil on canvas
16 x 20 inches (40.5 x 50.8 cm)
Isabel Mallet
dark room (cone), 2026
Light, wood, wood glue, lens, drafting paper, screws
16 x 14.75 x 33 inches (40.6 x 37.5 x 83.8 cm)
Liam Neff
04:30, 2026
Oil on canvas
8 x 12 inches (20.3 x 30.5 cm)
Delay in Glass is curated by Dominic Palarchio. It is presented at Palarchio’s Auto Service from July 19-August 2, 2026, and includes works by Alivia Zivich, Dominic Palarchio, Dylan Spaysky, Henry Belden, Isabel Mallet, Joseph Brock, Joseph Smith, Liam Neff, Phoebe Nesgos, Travis Fairclough, Zaid Arshad, and Zeshan Ahmed. For inquiries please contact dompalarchio@gmail.com
In the early stages of their usage, they were meant to be part- functional and part-ornamental.
Oil creates the illusion of a completely changed life, life without work, life for free. Oil is a resource that anaesthetises thought, blurs vision.
The image is atomised— into light, scenery, and colorant.
This work uses printmaking and other forms of technological mediation to process the extreme proliferation of images. It was created using hydrographics, a water transfer method often used to apply images onto 3D objects like auto parts.
SPH CYL AXIS
OD -1.25 -2.50 170
OS -2.25 -2.00 012
I don’t remember where this foam came from. People just give me foam and I glue it together.
Pressed, gravity against machine, four hands are workers again A great good at home, one preserved in tedium and feltDriven by repetition
Stay, split-second-ness of breath against glass. Those weightless Deaths, like, when a red-crowned pecker flung
Against a mirrored window.
Everything comes and goes. Like looking at a nearly full moon, unclear if it waxing or waning, it can be hard to tell the direction of a moment. There is a clearing outside the binary. Where nothing comes or goes. A field of the unknowing. A perfect place to build a home
A victim is tricked into holding a cup of water against the ceiling using a broomstick, only to realize they are trapped
goyā : ‘as if, Saying, speaking; a speaker, singer;
loquacious, talkative; the tongue; a singing-bird; well- tuned (instrument); thus, in this manner, as you would say, as it were; chiefly, principally, apparently, probably’.
to read messages scratched on planets
disgrace that dictionary: a place where everything was attached to a meaning
like the first person to taste snow
after such knowledge what forgiveness? goyā what delay?
The reflected light of one room enters a permeable obstruction. A dark room is installed as a valve between two rooms. A projected image leaks a representation of another room that changes.
Dominic Palarchio
Regions Untormented, 2026
1963 Pontiac Grand Prix, felt
60 x 78 x 217 (152 × 198 × 551 cm)
Phoebe Nesgos
Somatophylax, 2026
Oil on linen
78 x 51 inches (198 x 130 cm)
Travis Fairclough
Untitled 01, (I want to go to heaven but I don’t know how), 2025
Watercolor on paper
Paper: 18 x 24 inches (45.7 x 61 cm)
Frame: 24.5 x 36.5 inches (62 x 92 cm)
Henry Belden
Splat, 2026
Chair
36 x 34 x 18 inches (91.4 × 86.4 × 45.7 cm)
Dylan Spaysky
IKEA Kettle, 2020
Upholstery foam, glue
9.5 x 10.5 x 8 inches (24 × 26.7 × 20.3 cm)
Joseph Brock
Cascade Frame Mini (C.5), 2026
Acrylic, carbon pigment, graphite, colored pencil on canvas
16 x 20 inches (40.5 x 50.8 cm)
Isabel Mallet
dark room (cone), 2026
Light, wood, wood glue, lens, drafting paper, screws
16 x 14.75 x 33 inches (40.6 x 37.5 x 83.8 cm)
Liam Neff
04:30, 2026
Oil on canvas
8 x 12 inches (20.3 x 30.5 cm)