Gavin Perry sculpts by dousing objects with vibrant resin and suspending them to drip dry. He then collects the run-offs and recasts the drippings and shavings (pictured above) as artifacts within his resinous paintings. Some become large-scale paperweights. Yet another variant of Perry’s work are totem-like columns cast of thin layers of bright colors.

Perry shares his large industrial space with his wife Beatriz Monteavaro and fellow artist Gean Moreno. Monteavaro and Perry also host practice in the studio for their band, Holly Hunt. The only walled off area in the studio, aside from a break lounge at the front of the building, was a dust-free room for Perry’s resin casting towards the back. In the process of curing was a metal rod that Perry had just deluged with bright red resin (pictured right). When I asked Perry if he had any makeshift tools, his response was, “Lots. None that I could really show because they’re jigs that get used once and then discarded.”

Perry, Monteavaro, and Moreno were part of the mass exodus of artists from the Wynwood District. A recent flood of galleries [and cafés] in that neighborhood causes rents to skyrocket, although it is, as Perry described, “still the ghetto.” Perry expressed relief about finding their new location. “From where we came, it’s like night and day. My old space—I was essentially paying a mortgage for a place where my car was getting ripped off every other week.” For Perry, it’s another example of poor urban planning in Miami, a city run by luxury condominium developers banking on the city becoming an economic hub of the Americas while disregarding the atrocities in the surrounding low-income neighborhoods.

I asked Perry about a curious rack blocking the back entrance. “Gean curated a group show of artists making what, in theory, would be production lamps. So this was actually a lamp. There used to be a light fixture for it. Post-show, it’s now sort of a privacy-screen slash muscle-shirt dryer slash dust-collector,” he laughed. “It never was art per se. It was always based off a functional piece. And it became—well, it’s had a hybrid life.”

View Perry’s work