Dogs Who Run in Dreams [David Peter Francis]

"Kong Play" is a sculptural installation consisting of 100 ceramic Kong sculptures that are installed throughout the gallery, mostly on the floor. A Kong is made up of three stacked spheres, with the largest on the bottom and the smallest on the top, they are reminiscent of a snowman. The bottom of each Kong is flat, enabling them to stand upright. Each Kong is painted with a different acrylic color. In total, there are 50 different colors, or 2 Kongs per color. In this installation shot, brightly colored Kongs are scattered across the floor. This photo was taken from a low vantage point and the single circular plinth in the mid ground towers above the Kongs. Two framed drawings hang on the wall.
“Kong Play”, 2024, dimensions vary, acrylic paint on 100 ceramic sculptures.
The dog’s body is facing left, but its head is turned back, with its tongue extended, as if licking the air. Its eyes are open and outlined with a few lashes, giving it a slightly expressive look. The dog’s tail is lifted, and a human hand, drawn with a simple outline, is holding the tip of the tail up and away from the dog’s body. The dog’s legs are thin and slightly awkward, adding to the whimsical feel. Surrounding the dog and rug, scattered across the lower two-thirds of the paper, are about thirty Kong chew toys. The Kongs are colored in a wide variety of bright hues: red, orange, yellow, green, blue, purple, pink, and turquoise. Some colors repeat, and the toys are distributed evenly around the dog, creating a playful, almost celebratory border.
“Pleasure Palace”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
"Moon Bed" is a small, handmade ceramic sculpture of a bed with a dog resting on top of it. The bed is rectangular with four thick, rounded legs at each corner. Each leg extends upward into a tall post, and each post is topped with three large, shiny, pearl-like spheres stacked vertically. The posts and the bed frame are painted a soft, matte blue. The bed has a high, half moon shaped headboard, that is the same blue. The bedding consists of a dark, midnight blue blanket that covers most of the bed’s surface, with a white sheet draped over the top edge and hanging down the right side. Two white pillows are placed side by side at the head of the bed. On top of the blanket, is a white English Labrador Retriever lying on its side, curled up as if sleeping. Its legs are tucked in, and its tail curves around its body.
“Moon Bed”, 2025, 11″ x 8.75″ x 7.75″, oil paint on stoneware ceramic.
In this view of "Moon Bed" from above, the English Labrador Retriever's resting form is in a perfect profile view, highlighted by the contrast between its off-white fur and the dark, midnight blue of the blanket.
“Moon Bed” overhead view.
Installation shot of "Kong Play", taken from the opposite side of "Moon Bed", showing that even more Kongs are installed throughout the gallery. There are two drawings installed on the walls in the background, "Pleasure Palace" on the left and “Angel Dogs Flying to the Moon” to the right.
“Kong Play” installation shot.
"Wild Girls" is a colorful drawing on off-white paper, framed in a light wood frame. The scene is in a bedroom, drawn in a playful, whimsical style. On the right side, Emilie, with brown hair in a bun, and wearing a black tank top and pink underwear, is positioned on all fours on a bed. Emilie’s face is close to London's, an English Labrador Retriever, also on the bed, with their tongues affectionately licking each other. Emilie’s fingers are splayed on the bed, and their knees are bent, with one leg stretching back. To the left of the bed, there is a small round wooden table with three legs. On top of the table sits a potted plant with green leaves and white flowers. Above the plant, two orange butterflies are drawn in mid-air. Further left, a red couch with simple, vertical and horizontal lines indicating cushions sits against the wall. The couch is colored in with red and pink strokes, giving it a textured appearance. On the floor, and strewn about, is London’s Guide Dog harness, her brown dog leash, and her collar. Closer to the center, a pair of black ankle boots is placed side by side, and a red Kong chew toy is nearby. At the top left, there is an orange circle representing the sun, and at the top right, a pale blue crescent moon, adding a surreal or imaginative touch to the scene.
“Wild Girls”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
“Playing in Bed (with lobster)” is a colorful drawing on off-white paper, framed in a light wood frame. On the left side of the drawing, a burgundy couch with four brown legs, drawn with visible lines to indicate cushions. Behind the couch, a tall green plant with heart-shaped leaves grows upward, with a round orange sun peeking through the green leaves. Next to the couch, a small round table with three legs holds a potted plant. The plant has two large green leaves and a single purple flower. Below the table, a pink Kong chew toy sits on the floor. Near the bottom left, a small red lobster is drawn with a round body and extended claws. In the center and right: A large brown bed, sits on four legs. On the bed, Emilie with brown hair in a bun, wearing a black tank top and pink underwear, is on all fours, facing London, a blonde English Labrador Retriever. Their faces are close together with their tongues affectionately licking each other, as if French kissing. London is drawn with a long tail. Under the bed, two black ankle boots rest on top of a green rug. In front of the bed, an orange ball sits on a patch of green carpet. In the background, two orange butterflies are drawn in the air above Emilie and London. A blue crescent moon is in the upper right corner.
“Playing in Bed (with lobster)”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
"Our Bed" is a small, hand built ceramic sculpture showing a cozy scene on a rectangular bed. The bed has a thick, chocolate-brown blanket covering the top, with a pink bed frame and two pink pillows at the head. The bed stands on four chunky, black legs. On the bed, a nude human figure with light peach skin and brown hair is curled up in a fetal position, lying on their left side. Their knees are tucked close to their chest, arms bent and hands together near their face, which is turned slightly downward. The figure’s facial features are minimal, with only the suggestion of a nose and closed eyes. Next to the person, a white dog is also curled up, mirroring the human’s position. The dog’s body forms a loose, circular shape, with its head tucked in and tail wrapped around. The sculpture has a handmade, almost cartoonish quality, emphasizing warmth, intimacy, and the bond between the person and the dog. The scene feels peaceful and safe, as if capturing a quiet moment of rest and companionship.
“Our Bed”, 2025, 9.75″ x 8.25″ x 3.5″, oil paint on stoneware ceramic.
In this topdown view of "Our Bed", the top of both the human figure and the dog are clearly visible. The two sleeping figures are almost touching.
“Our Bed” top view.
Installation shot of "Kong Play", in the foreground, "Moon Bed" sits on a white plinth, surround by a sea of Kongs. On the wall directly behind the plinth, two framed drawings are installed. On the left is “Playing in Bed (with lobster)” and on the right is "Wild Girls".
“Kong Play” installation shot.
“Kong Play, One Two Three” is a minimalist drawing on cream-colored paper, framed in light wood. The artwork features several loosely sketched blonde English Labrador Retrievers, drawn in a simple style with thin black lines and light beige shading. On the left, three dogs stand upright, two of them reaching up with their tongues stretched towards a black Kong floating above them, while the third dog is supporting the others. In the center, a dog lies on its back on a brown bed, holding and licking a red Kong. On the right, two dogs stand upright, one behind the other, both reaching up with their tongues extended toward a yellow Kong above them. The dogs have expressive faces, and the overall style is whimsical and playful.
“Kong Play, One Two Three”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
“Louisiana Day Bed” is a small, handmade ceramic sculpture featuring a day bed and two Alligatorgirls, that is alligators with human arms and legs. The bed has a rounded, arching headboard and footboard, both painted in a metallic copper color. The frame is chunky and uneven, giving it a playful, childlike appearance. The mattress is a solid reddish-pink color, with the same color extending down the sides, and the edges of the bed have wavy, scalloped detailing in copper. On top of the bed, near the headboard, is a small black cat curled up and asleep on a rectangular pink pillow. The cat has a pink dot for a nose and white ears. In front of the bed, on the white surface, lies an Alligatorgirl. The alligator’s body is dark green, with its arms and legs painted white. It is stretched out on its side, with its head resting on the ground and its legs extended, as if in a relaxed, sleeping pose. Another Alligatorgirl is partly visible behind the bed.
“Louisiana Day Bed”, 2025, dimensions vary, oil paint on stoneware ceramic.
In this view of “Louisiana Day Bed” from the back, the second Alligatorgil is fully visible. So is the rear of the bed, including the metallic copper back of the bed, along with the back of the cat's ears.
“Louisiana Day Bed” rear view.
In this closeup of “Louisiana Day Bed”, the focus is on the black cat which is curled up asleep on the pillow. The white of its ears along with a tiny dot of pink on its nose are both highlighted.
“Louisiana Day Bed” cat closeup.
Installation shot of "Kong Play", centered on a white circular plinth with "Moon Bed" installed on top of it. Brightly colored Kongs are arranged across the floor around the plinth and there are three framed drawings hanging on the walls at the back, “Playing in Bed (with lobster)” and "Wild Girls" are paired together on one wall while "Pleasure Palace" is installed by itself on the other.
“Kong Play” installation shot.
“Angel Dogs Flying to the Moon” is a colored crayon drawing on paper in a light wood frame. The drawing shows three blonde English Labrador Retrievers, each with large, orange butterfly wings. The Butterfly Dogs are positioned as if they are leaping or floating in the air. Above them, there are several yellow stars scattered across the top of the picture and a single blue circle, representing a moon. The background is filled with light pink shading. The drawing has a whimsical, childlike style.
“Angel Dogs Flying to the Moon”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
“Butterflydogs” consists of a trio of ceramic sculptures, each made to resemble a white English Labrador Retrievers. Their legs are thick and slightly uneven, giving a handmade, almost childlike appearance. Their tails are long and each one sticks out in a different direction, one straight back, another to the right in a 'u' shape, and the last drops straight down. On each dog's back are a pair of large, orange butterfly wings with black outlines, reminiscent of monarch butterflies. The wings are upright and attached at the center of the dogs’ backs, making them look as if they could up and fly off. The three figures are positioned close together, as if interacting or forming a small group.
“Butterflydogs”, 2025, dimensions vary, oil paint on stoneware ceramic.
This overhead view of “Butterflydogs” shows that one of the dogs has her eyes closed while another stares straight up at the camera. The large size of the butterfly wings is much more apparent from this vantage point.
“Butterflydogs” overhead view.
Installation shot of "Kong Play", taken in the back room of the gallery. The foreground is dominated by three circular white plinths of varying heights, the two on the left each have a ceramic bed sculpture on them while the plinth on the right has the three "Butterflydogs" on it. Kongs are scattered across the floor in pairs and alone. The drawing “In My Dreams, The Mississippi Carries Me” is hanging on the back wall.
“Kong Play” installation shot.
“In My Dreams, The Mississippi Carries Me” is a colorful drawing on paper, framed in a light wood frame. The scene is set outdoors and is divided horizontally: the lower half depicts a dark green body of water, and the upper half is a sky filled with blue horizontal strokes. In the foreground, on the left side of the drawing, are two large, green alligators with woman arms and hands splashing out of the water. Their mouths are open, and their eyes are round and cartoonish, and their teeth are visible. The Alligatorgirls are swimming towards a woman standing barefoot in the center-right, who has pale skin, shoulder-length brown hair, and a wide, closed-mouth smile. She wears a black outfit that covers her arms and legs. Her hands are clasped together at her chest, and her posture is relaxed and peaceful. To the right of the woman, are two long, brown and black striped snakes with yellow eyes and long black eyelashes slithering in the water towards her. The sky is a vibrant blue, with a bright orange sun at the top center, and scattered in the sky are five orange butterflies. On the left side, at the water’s edge, there are three small, leafy trees with brown trunks and green leaves. Between the trees, there is a day bed with magenta sheets, and a red car that has been overturned with its black wheels in the air. On the far right side of the drawing, another leafy tree with long, thin green leaves is visible. The overall style is dreamlike and wild.
“In My Dreams, The Mississippi Carries Me”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
“When I was a Ball of Light”, is a small abstract sculpture consisting of two main parts: a base and a sphere. The base resembles a soft, slightly squished magenta pillow, with rounded edges and a somewhat uneven surface. On top of the pillow, sits a single sphere, about the same width as the cushion. The sphere is a pale, buttery yellow with a subtle sheen, giving it a slightly reflective, almost glittery affect, as if it is glowing from within.
“When I Was A Ball of Light”, 2025, 2.75″ x 2.25″ x 2.5″, oil paint on stoneware ceramic.
Installation view of "Kong Play", facing towards the closed front door of the gallery on the right and the darkly stained wooden desk on the left. In the center of the image, "Moon Bed" sits on a circular white plinth. Colorful Kongs cover the floor around it and three framed drawings hang on the wall behind, “Angel Dogs Flying to the Moon” by itself while the other two drawings are too far back to clearly make out.
“Kong Play” installation shot.
In “Kong Play to the Left”, two blonde English Labrador Retrievers are drawn with thin, continuous black lines and lightly shaded bodies. Both dogs are standing upright on their hind legs, facing each other and to the left. The dog on the left is slightly behind and lower than the dog on the right. Its front legs are draped over the chest of the other dog, as if embracing or humping it. The dog on the right is positioned slightly higher and in front. Its body is arched, and its head is tilted back. Both dogs have their tongues stretched out, trying to lick a red Kong floating in the air above their heads. Their tails are long and pointy, extending out behind them. There is a lot of negative space in the background, making the overall feeling very playful and funny.
“Kong Play to the Left”, 2025, 17.5″ x 23″, ballpoint pen and crayon on paper.
In “Kong Play to the Right”, two blonde English Labrador Retrievers, drawn with thin, continuous black lines, are facing to the right side of the drawing. The dogs are depicted in a playful, alert stance, with their bodies overlapping, as if humping each other. Their heads are tilted upward, and both have their long, pink tongues extended high above their heads, trying to lick a red Kong floating above them, just out of reach. Their tails are stretched out in a curve behind them, making the atmosphere of the drawing very funny and playful.
“Kong Play to the Right”, 2025, 17.5″ x 23″, ballpoint pen and crayon on paper.
Vertical installation shot of "Kong Play" viewed from the lobby outside the gallery. The doorway is ringed by panes of frosted glass and the door is open. Beyond the door, Kongs are scattered across the floor, some in pairs, others alone. A single circular white plinth is topped by a blue bed sculpture. There is a single drawing hanging on the back wall.
“Kong Play” front door.
Vertical installation shot of "Kong Play". Four Kongs are installed in the front corner of the gallery, one on the windowsill, another on top of a bit of protruding moulding, while the last two are nestled together nearby on the floor. The wall on the left is made up of exposed brownish red bricks, the wall on the right is painted a bright white.
“Kong Play” installation shot.
Installation view of "Kong Play", taken from floor level and focused close in on a pair of Kongs, one bright red, the other a shiny gold, that are nestled together. A few more colorful Kongs are scattered across the floor behind them and the bottom corner of a framed drawings peeks in from the upper righthand corner.
“Kong Play” installation shot.
"At Night in Bed with Butterfly" is a colored crayon drawing on white paper in a light wood frame. The drawing shows Emilie and London, a golden English Labrador Retriever, asleep in bed together. Emilie is under the covers, with only her head visible. London is on top of the brown comforter to her left. There are various objects scattered around the edge of the bed. From the top, in a clockwise circle, an orange butterfly with a blue aura floats at the head of the bed. To the right, there is a bright red lobster. To the bottom left, there are a pair of black socks. And to the top right, there is a cochlear implant device and hearing aid, both are silver.
“At Night in Bed with Butterfly”, 2025, 17.5″ x 23″, ballpoint pen and crayon on paper.
Vertical installation shot of "Kong Play" focused on a single, bright yellow Kong that has been placed, half-hidden, on top of the shiny silver ventilation duct. Only the top two spheres are fully visible.
“Kong Play” hidden kong.

Dogs Who Run In Dreams

May 8 – June 14, 2025

Opening Reception: Thursday, May 8 | 6-8pm

David Peter Francis is pleased to present Dogs Who Run In Dreams, a solo exhibition of work by New York- based artist Emilie Louise Gossiaux. As a multidisciplinary artist who is also blind, Gossiaux translates her inner worlds into the physical realm through works based on dreams, memories, and her sense of touch— an exploration of interdependence, Disability, and the interspecies kinship that centers the decade long relationship with her Guide Dog and animal companion, London.

There is a drawing here of Emilie in Louisiana floating down the Mississippi, where two Alligatorgirls and water moccasins with long femme eyelashes swim towards her, beckoning for her to join them. The Sun and the Moon get in each other’s way, a joining of worlds as she rests. On the shore, Gossiaux’s childhood daybed watches as a car is overturned— it seems the landscape will soon consume them both. That same bed appears vitrified in ceramic nearby, while a different sculpted bed has London asleep alone with four- posters of ascending pearlescent orbs. A third shows Emilie and London sleeping beside one another, frozen together en repose.

The bed, a place of connection, sets the stage for the exhibition, just as it sets a stage for a spouse, a mother, a daughter—all roles played by London and Emilie interchangeably throughout their time together. For many, a passageway takes the shape of a bed— while the Moon stands watch, the Sun waits to greet you anew. This place, where Emilie and London once returned together day after day, has become the site for a new kind of closeness—that of end of life care. In London’s later life, responsibilities between bodies have changed; she no longer shares the night in the queen-sized bed but rests on a floor-bound cushion throughout the day, attended to by her human-companion in her ever-slowing-pace.

With Kong Play, previously shown at Kunsthall Trondheim, Gossiaux envisions an afterlife for London— where desire finds itself at its most exalted—populated not by a thousand virgins, but rather hundreds of peanut butter filled rubber kongs. With obsession, London chews, chews, chews, licking with incessant vigor, always craving more whilst inhabiting this pleasure palace. Toys durable and subject to play are now rendered earthen and breakable—at once a fragile facsimile and an unshakable monument.

In her notes regarding the exhibition, Gossiaux imagines death as a “second future”. If neither space nor species can dictate the limits of one’s body, then what is death but another river upon which crossings must occur? Infiltration across realms is nothing new; dreams infiltrate the waking and vice-versa. Centers of gravity shift— a kind ghost brushes hair in the morning, and smooths blankets around bodily forms before rest. The caterpillar tucks itself into a cocoon. Traversing technicolor forests, London approaches the crossing and sends a message back.