Los Angeles’s vibrant art scene is set to welcome a compelling new installation as Kohshin Finley prepares to unveil his latest work, …and someone was playing the piano, right? (2026), at Frieze Los Angeles. The sculpture, a series of large-scale stoneware vessels, will be installed outdoors on the Santa Monica Airport campus as part of the Body & Soul exhibition, curated by Art Production Fund. This marks a significant moment for the Los Angeles native, extending the reach of the prestigious art fair beyond its traditional confines and into the public sphere. Finley’s work, debuting February 26 and remaining on display through March 1, promises a unique encounter for art enthusiasts and passersby alike, prompting reflection on the interplay between art, space, and community.
Finley’s artistic journey, even as recently embracing ceramics, is deeply rooted in figure painting. But, the commission presented a unique challenge – adapting his creative vision for an outdoor environment. As he explained, presenting art in a public space necessitates a different approach than the controlled setting of a gallery. Considerations of accessibility and interaction with the public became paramount. The sculpture’s design, accounts for the potential for physical engagement, acknowledging that the work will be exposed to the elements and the constant flow of pedestrian traffic. This shift in perspective, from the intimate gallery space to the open public realm, has develop into integral to the creative process, reframing the commission as an opportunity to explore new dimensions of his artistic practice.
A Homecoming for the Los Angeles Artist
The opportunity to exhibit his work in his hometown holds particular significance for Finley. Having grown up visiting the Barker Hangar in Santa Monica, long before its transformation into an annual art destination with Frieze Los Angeles, the location carries a personal resonance. Finley graduated from Otis College of Art and Design, and has long aspired to showcase his art within the Los Angeles community. Otis College of Art and Design, located in Los Angeles, has been a cornerstone of artistic education in the region since its founding in 1918. He views public presentations as a vital means of sharing his vision with family, friends, and the broader community that has shaped his artistic development. Studio practice, he notes, can often be a solitary pursuit, and these public engagements provide a crucial connection to the world beyond the studio walls.
From Painting to Pottery: A Pandemic-Inspired Shift
While Finley is widely recognized for his work as a figure painter, his exploration of ceramics began during the initial phase of the COVID-19 pandemic. Encouraged by his wife, he enrolled in a ceramics class as a creative outlet during a period of widespread uncertainty and isolation. Initially hesitant, given his established career in painting, Finley discovered that working with clay offered a refreshing perspective and a new avenue for artistic expression. He described the experience as a collaborative process with the earth itself, finding a unique connection to the material and its inherent qualities. Over the past six years, Finley has dedicated himself to mastering the art of ceramics, studying its history and experimenting with its possibilities. This immersion has fostered a tactile dialogue with the earth, linking him to artistic traditions spanning millennia.
Ceramics as an Inherited Language
Finley’s exploration of ceramics is deeply informed by his identity as a Black and Mexican artist. He views the medium as an inherited language, recognizing the rich histories of working with earth on both sides of his heritage. He acknowledges the continuity embedded within the process, noting that the fundamental techniques of ceramics have remained remarkably consistent for thousands of years. This connection to ancestral practices imbues his work with a sense of cultural resonance and historical depth. The enduring nature of ceramic traditions, spanning continents and generations, provides a powerful framework for Finley’s artistic exploration.
…and someone was playing the piano, right?: A Bridge to New Audiences
…and someone was playing the piano, right? represents Finley’s third participation in Frieze Los Angeles and his inaugural outdoor installation at the fair. He expressed particular interest in observing how audiences who may not typically attend art events respond to his work. The Body & Soul section, with its emphasis on placing major commissions in accessible public spaces, aims to bridge the gap between the art world and the wider community. Finley believes that this openness is crucial for fostering a more inclusive and engaging art experience. He anticipates a “communal magic” during Frieze week in Los Angeles, eager to witness how the public interacts with his sculpture and what interpretations they bring to it. The Frieze Los Angeles fair, established in 2019, has quickly become a significant event on the international art calendar, attracting galleries and collectors from around the globe. Frieze Los Angeles contributes significantly to the economic and cultural vitality of the city.
The installation’s design, featuring large-scale stoneware vessels within shadow box shelving, is intended to invite multiple perspectives and encourage viewers to engage with the work from various vantage points. Finley’s awareness of the surrounding environment shaped the scale and structure of the piece, ensuring its resilience against the elements and its ability to hold its own within the dynamic public space. This adaptation to the surroundings became an integral part of the creative process, prompting Finley to reframe the commission as an opportunity to expand the reach and impact of his art.
As Frieze Los Angeles prepares to open its doors, Kohshin Finley’s …and someone was playing the piano, right? stands as a testament to the power of art to transcend boundaries and connect with diverse audiences. The sculpture promises to be a focal point of the Body & Soul exhibition, inviting viewers to contemplate the relationship between art, nature, and community. The ongoing success of Frieze Los Angeles underscores the growing importance of Los Angeles as a global center for contemporary art. The fair’s commitment to public engagement and accessibility ensures that art remains a vibrant and inclusive force within the city.
The next step for those interested in experiencing Finley’s work is to visit the Frieze Los Angeles fair between February 26 and March 1, 2026, at the Santa Monica Airport campus. Further information about the fair, including ticketing details and a full list of participating artists, can be found on the official Frieze website. We encourage readers to share their experiences and interpretations of …and someone was playing the piano, right? in the comments below.
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