Tiny Gallery x Four Corners Public Arts
Tiny Joy on Treat Place
Corridor Installation
Oct 2025-Oct 2026
On a small alley, six micro-installations serve as a reminder of the extraordinary power of small things. In collaboration with @projectforemptyspace, @tinygallerymontclair installed six miniature galleries along Treat Place for the Newark Arts Festival featuring works by Christen Clifford, Melisa Gerecci, Luisa Romero Pinzon, Eirini Linardaki, Antoinette Ellis-Williams, Kween Moore, and Jaydeley Louis-Jean. Each micro-gallery explores the poetics of perception and intimacy while illustrating how small art expands the boundaries of where and how beauty is found.
Erini Lindarki, Look, Don’t be a Cloud
Look, Don’t Become a Cloud is a new mural by artist Eirini Linardaki, to be installed in October 2025 under the train bridge on Broad Street in Bloomfield, NJ. The composition shows a dream landscape built from patterns, where a young figure radiates light from within. This light expands outward in petals, transforming a rapid passage into a space of contemplation. The work speaks to resilience and the strength of finding illumination inside one’s self in restless times.
The mural draws inspiration from the lyric “Κοίτα μην γίνεις σύννεφο” (“Look, Don’t Become a Cloud”), suggesting a balance between fragility and groundedness, urging viewers not to fade but to remain present and rooted.
In Greece, where the artist grew up, small roadside shrines hold a permanent flame of remembrance. The Treat Place installation presents a miniature preview of the upcoming Bloomfield mural. Going small allows the work to meet viewers up close, almost like a secret encounter. On this intimate scale, the mural invites passersby to pause, reflect, and carry a piece of light into their day, while offering a glimpse of what will soon unfold under the train bridge on Broad Street.
Christen Clifford, Interiors, We Are All Pink Inside
Interiors: We Are All Pink Inside began as video and large-scale stills—a private, intimate exploration of my body and my diagnoses. I have had uterine, ovarian, and breast cancers. As I went through surgeries, chemotherapy, and supplemental healing modalities, I began to view my body as an experimental space. The project started with my use of a Japanese sex toy camera to capture unmanipulated video stills inside my vagina and later expanded into Interior Portraits of my friends and colleagues—adult earthlings of all genders, ages, bodies, and colors. The images are undulating pinks. In this work, pink is not simply flesh; it is the color of healing and solidarity. There is no digital manipulation, no filters—only the body insisting on being seen.
By shrinking my larger works into a portable shadow box, I remove them from controlled spaces and into the unpredictability of public space. This shift doesn’t dilute the work; it radicalizes it. A plexi-box on a Newark street corner is not decoration—it’s a confrontation, sparking immediate, unfiltered reactions from anyone who passes by.
Melisa Gerecci, The CookBook LookBook Calendar Project
CookBook LookBook is an artist-led project about storytelling through food. We share research and memories around meals and archive our findings in paper wall calendars embedded with zines. At workshops and festivals, we encourage communities to explore their own memories at our interactive installations. We celebrate food's power to emotionally connect and creatively nourish us all.
Our 2026 publication is all about spice. Spices move through trade, theft, and travel. Spiciness also catalyzes change on both culinary and cultural levels and can represent moments/acts of resistance and the individuals who rise to occasions calling for liberation.
Luisa Fernanda Pinzon Romero, Home of My Ancestors
Ancestral Home reflects on the deep connections between memory, place, and identity. This work explores home not only as a physical structure but as a vessel of stories, traditions, and histories carried across generations. Within the image, my mother, grandmother, and uncle—who have all passed and whom we still mourn—are present, embodying love, rituals, and resilience. Their inheritances shape my past, present, and future. The piece, in its diminutive size and unexpected location, invites viewers to look, lean in and consider their own ancestral ties and to reflect on what “home” means beyond walls and geography: as a space of belonging, continuity, and remembrance.
Erini Lindarki, Look, Don’t be a Cloud
Christen Clifford, We Are All Pink Inside
Melisa Gerecci; The CookBook LookBook Calendar Project; Luisa Pinzon-Romero Home Of My Ancestors
Antionette Ellis-Williams, My American Immigrant Flag
Kween Moore and Jadeley Louis-Jean, Big Little Purpose
Antionette Ellis-Williams, My American Immigrant Flag
I’m a Jamaican immigrant who dances between many spaces and places. My American Immigrant Flag uses fabric, cowrie shells, safety pins and paint to give voice to my grandmother. Her life, her struggles, her narrative is thick, layered with fish soup, chocolate tea and breadfruit. She was a poor seamstress who worked hard to create clothes for upper class women. It’s because of her hard work—her scrapes, pins, buttons, notions, and threads that feed us in so many ways. I use red, white, and blue hues as a subversive nod to the American legacy. My story is a familiar story for so many immigrants. I tell stories to build a shared global community. I was attracted to the idea of going small because I want to ensure my work is accessible across age, culture, socioeconomic, faith, identity and clearly anchored in the complex rich history and narrative of blackness in the United States and black the diaspora.
My practice seeks to unpack rage, pain, contradictions, beauty, agency, and joy, while trying to understand my place in the world. It’s a conversation about power, resilience, cultural expression, gender, and healing. These days the urgency of now presses me to create.
Kween Moore and Jadeley Louis-Jean, Big Little Purpose
This joint installation Little Big Purpose celebrates the intimacy and expansiveness of large- and small-scale art. Influenced by her global travels, from Lagos to India, Belize to Puerto Rico, and Mexico to Newark, as an artist, curator, and international arts educator, Moore’s tiny creations hold the textures of her research, community exchange, and lived experience. “By working small, I invite viewers into a quiet joy, and the possibility of carrying art with them in both memory and imagination,” Moore says.
Jadeley Louis-Jean’s pieces are a playful exploration of what can emerge within the limits of a small surface. “Working on this scale challenges me to distill ideas, colors, and emotions into compact forms, turning scarcity into possibility,” she says. Both artists challenge us to consider how joy and connection can thrive in condensed spaces, how stories can travel across borders through pocket-sized forms, and how the act of creating sustains the human spirit. In this way, Little Big Purpose is both personal and collective, an offering of joy, discovery, and purpose distilled into small works that resonate with all of us.