YveYANG Gallery is pleased to present Transportation, Allan Rand’s first New York solo exhibition, on view from September 5 through November 1, 2025.

Rand’s paintings are distinct physical presences. They combine narrative, temporal, and material layers, moving fluidly across continents and timelines.

The works incorporate a range of materials, including casein, threads, pearlescent abalone shell pigment, and convict-made bricks from former Sydney prison labor sites. These bricks have been broken into rubble, ground into pigment, and reconstituted into the painting surfaces. Rand first encountered them bearing the thumb impressions of their makers—a physical connection to long-gone European convicts, deported for crimes such as stealing sugar or wrecking textile machinery. The latter recalls Machine Breakers—Rand's recent solo debut in the UK, which considered the activities of the Luddites.

Transportation opens up a space of movement, beyond the exhibition’s title as a historical euphemism for deportation to Australia. In Paroxysm (2025), a tree collapses a wall; birds lift into flight; figures scale through wreckage. Young Blade (for F.K.) (2025) cuts through social imaginaries with a saw-toothed urgency, less “acting out” than tearing through the floor plan. Stoop Culture (for B.B.) (2025) assembles a local tableau from 19th-century brothel records, a fallen building façade, and the ghostly stagecraft of Sienese painting. Æblerov (2025) takes its name from a Danish term for apple theft. Through a rough film we make out a group of children “casing the joint” as they seem to admire a tree.

With this new body of work, Rand positions painting as a compound terrain: a site of friction between image and imprint, logic and law. Throughout runs the illicit—a sense that the paintings trespass upon stories and surfaces not entirely their own.