Royale Projects

THANK YOU to everyone who attended the opening of DOUBLE TAKE: KIM MANFREDI x MICHAEL TODD and PRIMARY OBJECTS!

Now more than ever, we hope Royale Projects is a safe space for community to gather. A place to find hope through art and solace in the act of creation. We strive to make our gallery a place where art is both a radical act and a peaceful retreat. To our artists, collectors, patrons, community members, and new friends— thank you for being present with us last Saturday.

Royale Projects is pleased to announce our upcoming exhibitions opening January 24, 2026 from 5:00 - 7:00 pm ✨

As part of our Double Take Series, we are thrilled to present Kim Manfredi and Michael Todd together in an exhibition that explores their shared use of aerosol spray paint and the dynamic boundary-pushing compositions of light and color.

Alongside will be a survey of Michael Todd’s constructions from 1966-2025, which seek to connect the carnal with the intangible. These career-defining sculptures are featured in The Whitney’s ‘Surreal Sixties’ exhibition. We are delighted to highlight this exhibition spanning half a century of work.

We cannot wait to see you and kick off our 2026 program!

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Arts Writer’s Meredyth Cole and Genevieve Michaels state: “No matter how earnestly we ignore our senses’ fallibility, it has a way of creeping in; blurred vision, wavering outlines, halos and auras brought on by the mutability of our consciousness and our shifting environment. For 𝗔𝗻𝗻𝗶𝗲 𝗕𝗿𝗶𝗮𝗿𝗱, human experience is delicate and fluid - in a sense, its own form of artistic expression.”
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Photo: Ruben Diaz

The composition generated in 𝗧𝗛𝗘 𝗚𝗟𝗢𝗪 𝗢𝗙 𝗧𝗪𝗢-𝗧𝗛𝗢𝗨𝗦𝗔𝗡𝗗 𝗠𝗢𝗢𝗡𝗦 simulates a lunar phenomenon while drawing attention to the nuanced mechanics of perception. Though we see the moon as inherently white, its color subtly shifts with atmospheric conditions and perspective. 𝗔𝗻𝗻𝗶𝗲 𝗕𝗿𝗶𝗮𝗿𝗱’s work becomes metaphoric for the ways in which we each filter reality through our own subjective lens, shaped by personal history and perspective, allowing even a single shared moment to evoke countless different emotions. 
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Photo: Ruben Diaz

Arts Writer’s Meredyth Cole and Genevieve Michaels state: “No matter how earnestly we ignore our senses’ fallibility, it has a way of creeping in; blurred vision, wavering outlines, halos and auras brought on by the mutability of our consciousness and our shifting environment. For 𝗔𝗻𝗻𝗶𝗲 𝗕𝗿𝗶𝗮𝗿𝗱, human experience is delicate and fluid - in a sense, its own form of artistic expression.”
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Photo: Ruben Diaz

Annie Briard’s 𝗧𝗛𝗘 𝗚𝗟𝗢𝗪 𝗢𝗙 𝗧𝗪𝗢-𝗧𝗛𝗢𝗨𝗦𝗔𝗡𝗗 𝗠𝗢𝗢𝗡𝗦 invites viewers into a contemplative space shaped by light and color, to bask in the glow of an ever-shifting pseudo moon seemingly cast from another realm.

In a machine performance orchestrated by Briard, three analog slide projectors cycle through over 240 hand-assembled slides, each a 35mm photograph of the clear, daylight sky shot through layered cinema gels. By overlapping these images, the synchronized projection produces an almost infinite amount of luminous hues, highlighting the principle that just three primary colors can produce the full spectrum of visible light. 
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Photo: Ruben Diaz

“Even though the work might seem like it’s all over the place, I really like order… I feel there’s so much nuttiness in the world. Things are not organized and there’s true turmoil-or whatever you call it-out there and just around the corner. But it’s just that...order-and a little peace-are what I need right now, you know.” -𝗗𝗮𝘃𝗶𝗱 𝗔𝗹𝗹𝗮𝗻 𝗣𝗲𝘁𝗲𝗿𝘀 
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While the tonal choice and application feel spontaneous and free, the carved patterns provide structure and stability. Recently, 𝗗𝗮𝘃𝗶𝗱 𝗔𝗹𝗹𝗮𝗻 𝗣𝗲𝘁𝗲𝗿𝘀 carvings have become increasingly elaborate, incorporating curvilinear forms and circular motifs reminiscent of the meditative raking of Japanese Zen Gardens. These sweeping grooves comb through striped bands of paint, juxtaposing organic movement with a linear framework. 
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𝗗𝗮𝘃𝗶𝗱 𝗔𝗹𝗹𝗮𝗻 𝗣𝗲𝘁𝗲𝗿𝘀

Untitled #1, 2024
acrylic paint on wood panel
60 x 40 in (152.4 x 101.6 cm)
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𝗗𝗮𝘃𝗶𝗱 𝗔𝗹𝗹𝗮𝗻 𝗣𝗲𝘁𝗲𝗿𝘀 develops each painting by applying expressionistic layers of acrylic paint onto plywood panels, building up a dense, vivid surface. Once hardened, he meticulously carves thousands of small gouges, creating intricate visual textures that gradually unfold as the viewer moves through the space. “It’s like fireworks in motion, sparkling and spinning gracefully, its energetic plumed networks expending otherworldly color-coded energy,” writes Stephen Wozniak, describing the experience of viewing Peters’s work.
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Photo: Ruben Diaz

Inspired by the intensity of California’s light, sunsets, and flora, 𝗗𝗮𝘃𝗶𝗱 𝗔𝗹𝗹𝗮𝗻 𝗣𝗲𝘁𝗲𝗿𝘀 employs a diverse and intuitive palette. Deep sapphires, emerald greens and rich maroons commingle with ethereal sky blues and soft lilacs while electric oranges peek through fields of golden poppy. His nuanced approach to color, merging subtle tones with saturated tints, creates a lively exchange between calm and exuberant.
Untitled #10, 2024
acrylic paint on wood panel
72 x 60 in (182.9 x 152.4 cm)

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DTLArt Day
Saturday October 25
Extended House 12-7

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