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(New York, NY—March 11, 2026) In conjunction with the Outsider Art Fair, Van Der Plas Gallery is pleased to present a group exhibition titled Parallel Perspectives, Six Voices featuring Anne Marie Grgich, Justin Duerr, Jason McLean, Christine Randolph, Konstantin Bokov, and Susan Day.

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Outsider Art isn’t so much a genre as a condition. It is work driven by an unrelenting compulsion, shaped by the singular vision and inner necessity of the artist. An alchemy of visual language, independent of formal restrictive technique and conventional art-world pathways. 

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Each artist included in this exhibition fashions their work from the school of lived experience, experimentation, and an unwavering practice of genuine art made on their own terms and convictions. Reflecting on the search for authenticity that informs the raison d'etre of Van Der Plas and this exhibition, gallerist and curator Adriaan van der Plas shares: “When I first opened the Orchard Street gallery, I wanted something that was real. I was looking for something more organic.”

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Justin Duerr, whose intricate ink drawings unfold as vast cosmologies of myth, elaborate spectacles that traverse thought and space. Born from a period in Duerr’s life after he had dropped out of high school and began working on a fishing boat in Alaska, where he frequently experienced sleep deprivation. “I felt this physically warm presence, a mist or something, all around me, pulling me up. In my mind, it felt like this is the goddess that exists outside of time.” His compositions reveal these densely layered mystic spaces with precision, chronology, and high-octane vitality, as shown in his towering scrolls Panel 40. Vanish into Existence and Panel 41. The Return of the Brides of the Goddess.

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Similarly immersive are the works of Anne Marie Grgich, whose art thrives on the accumulation of existence. Through collage, painting, and mixed-media constructions, Grgich assembles visual fragments into layered environments where image, text, and memory collide. Working frequently with vintage datebooks from the 1950s and 1960s—each still bearing the handwriting of previous owners—she merges timelines and identities, encased and preserved under resin. Her larger encaustic pieces are dreamlike tableaux, such as The Infamous Menagerie, incorporating elaborate storytelling and surreal intensity, where figures, faces, and symbols gather within richly textured depths.

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In tandem, the sculptural practice of Konstantin Bokov draws power from the transformation of discarded or “timestamped” materials. Bokov assembles cast-off objects into expressive constructions that are at once vivid, grotesque, and passionately personal. His sculptures reflect the artist’s sharp awareness of American material culture, improvisationally reframing the debris of consumer life into imaginative forms that question excess while celebrating resilience and character. 

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Christine Randolph, whose paintings evolve through a similar vein to Bokov’s, displays an intuitive sensitivity to color, shape, and emotional rhythm. Allowing imagery to emerge without the pressures of pre-planning, Randolph approaches the canvas as a space of what she describes as “psychological intuition,” where her emotions and aesthetics forge the path of her compositions. As an art therapist, she upholds the principle that art is “predicated on process. I find my creativity leads me, and I follow.” 

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Emotional introspection likewise shapes the drawings of Jason McLean. Known for chronicling his inner life through a continuous stream of text and imagery, McLean constructs visual diaries that map the shifting terrain of the mind. His work Breakthru Nite: In the Hall depicts a solitary figure wrapped in a blanket, dreaming of flight—a poignant image that reflects the artist’s pursuit of happiness and the fragile balance of mental and emotional states. For McLean, the act of drawing becomes a daily practice of inner analysis, where hope, struggle, and humor coexist within the same expressive space in a conscious effort to stay positive through the tremors of the everyday.

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Susan Day creates large, hand-built clay vessels whose expansive surfaces become sites for reflection. Working without a wheel, she presses and shapes each form by hand, leaving visible traces of touch that lend her work an intimate, tactile presence. Using the technique of sgraffito, Day carves intricate figurative scenes onto ceramic surfaces, weaving together autobiography and transcendental sequences. “Images are often situated on dinnerware or other prosaic surfaces, speaking to both the long tradition of ceramic art as a vehicle for storytelling and as a subversively common format to confront the viewer with uncommon images drawn from memory with a gentle hand.” Day transforms vessels into narrative landscapes, as in Vase 1 and Vase 2, incorporating human and animal forms into a visual odyssey. Her one-of-a-kind figurines use traditional, folkloric techniques, each imbued with Day’s knowledge and wisdom. 

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Together, these artists reveal the many ways visual chemistry can emerge outside prosaic artistic methods and means. Whether through visionary drawing, layered collage, sculptural assemblage, or instinctual painting, each artist constructs a deeply personal vernacular—one that reflects the complexities and wonders of their lives, transforming materials and experiences into distinct representations of voice and perspective.