Two solo shows at Royale Projects ask what a surface owes to the hand that made it. Ladan Sedighi’s "The Paradise of Cyrus" bends holographic film, vinyl wrap, and acrylic sheeting toward the Persian garden and its play of water and light. Bradley Harms’s "Everybody’s Perfect" builds paintings through cutting, dyeing, ironing, sewing, and stuffing, exploring heritage, domestic labor, and the instability of painting itself.
