Three artists—Veronika Georgieva, Stephen j Shanabrook, and Shura Skaya—have transformed an industrial venue at the Brooklyn Navy Yard into a pop-up exhibition titled “Drifting Until Caught.” The show, accessible only by appointment, features works that range from pressed plastic sculptures and chocolate casts to wax crayon drawings and acrylic paintings, all exploring the boundary between figuration and abstraction. Each artist employs mechanical or chance-based methods, such as Shanabrook’s hydraulic press or Georgieva’s video projections, to create images that embrace distortion and materiality.
The exhibition matters because it foregrounds a shared artistic interest in the “objectivity of method”—a reliance on mechanical production and chance encounters that echoes historical movements from silk screen to glitch art. By repurposing a non-traditional space and emphasizing process over polish, the show challenges conventional exhibition formats and highlights how three visually distinct artists can converge on a common philosophical ground. The success of the underground venue, drawing hundreds of visitors, also signals a growing appetite for intimate, curated experiences outside mainstream galleries.