On an adjacent wall, Cuban-American duo Eduardo del Valle and Mirta Gomez focus the lens on the Yucatán salt flats through their Lagoon Revisited series. Some pictures depict areas of concentrated color, and others resemble archaeological digs; some are briny and rife with the gleam of salt crystals in fleshy pink salmon or waxy sallow hues. Several staked-out salt pits exude a shade of mass graves.
In a back room, Christian Robotti's C-prints on plexi/sintra depict cloudbursts, light poles, and flowers as if they were refracted through a kaleidoscope's lens. Either that or its the artist's stab at digitalized optical legerdemain.
Elsa Mora rounds out the show with several compelling pieces created using Imbue print on handmade watercolor paper. The works are rife with a fetishistic vibe.
Círculo Vicioso depicts a nautilus-shape composition concocted from dried rosebuds, with a phalanx of goliath beetles marching toward the viewer.
It is one of many barbed images that linger. The only quibble is that Chelsea has chosen to run this show so briefly it seems barely adequate given the discoveries on display. That the rug is getting yanked from under Matiz without much fanfare is damn rude.