Afleveringen
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photo by Karla Del Orbe.
Adelisa Selimbašić (b. 1996) is an Italian-Bosnian artist living and working in New York. In 2021, she graduated from the Venice Academy of Fine Arts with a Master’s in Painting. Her pictorial research aims to imagine a world in which the sense of inadequacy does not exist, opening to a nonconventional perception of the body. Through scenes drawn from everyday life and an essential figurative approach, the artist reinterprets the idea of femininity, focusing on the complexities of human experience, desire, tension, and the need for physical contact.
Her practice is based on a dense and almost tactile painterly presence, achieved through careful manipulation of color: working with a contained palette, Selimbašić mixes pigments directly on the canvas, allowing the tones to meet and transform, pushing toward a plasticity that challenges traditional representations of the female body. In recent years, she has presented numerous solo exhibitions in institutional and international gallery contexts.
Among her most recent solo exhibitions: When we become each other, curated by Rebis Rebis (Delfina Pattacini and Gaddo Amunni), Lubov Gallery, New York (2026); The Dancefloor, curated by Michele Spinelli, z2o Sara Zanin, Rome (2026); For My Eyes Only, Manifesto Gallery of Contemporary Art, Sarajevo (2025); The Space in Between, curated by Delfina Pattacini, Tommaso Calabro Gallery, Milan (2025); Dust Bunny, curated by Michele Spinelli, z2o Project, Rome (2024); Why Is It So Hard to Declare Yourself?, Galleria Ipercubo, Milan (2023); In parallel, Selimbašić has participated in numerous group exhibitions in Italy and abroad.
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Giulio Noccesi by Ethan James Green
Giulio Noccesi (b. 1996, Florence, Italy) is a painter based in Turin, Italy. He has participated in group exhibitions at Minor Gallery, Copenhagen, DK (2025); Monti8, Rome, IT (2024); Candysnake Gallery, Milan, IT (2024); and D Contemporary Gallery, London, UK (2023). He received a degree in Printmaking from Fine Arts Academy, Florence in 2018.
“In Maurilia, the traveler is invited to visit the city and, at the same time, to examine some old postcards that show it as it used to be: the same identical square with a hen in the place of the bus station, a bandstand in place of the overpass, two young ladies with white parasols in the place of the munitions factory. If the traveler does not wish to disappoint the inhabitants, he must praise the postcard city and prefer it to the present one…”– Italo CalvinoIn Italo Calvino’s novel Invisible Cities, Marco Polo recounts his explorations along the Silk Road to the emperor Kublai Khan, each chapter detailing its own city. Calvino’s non-linear, combinatory prose asks us to think beyond the borders that separate cities, presenting metaphysical themes that are specific to each place described, yet which permeate the text as a whole. We are implored to consider the relationship between history and memory; above all, we must consider how ideas take shape across chapters to form a composite aesthetic experience.The paintings on view in Fermo per sempre make a similar demand of the viewer. Like Calvino’s postmodern cartography, Giulio Noccesi’s paintings construct a subjective map of his native Italy, an intricate network of isolated yet interrelated scenes. Each painting is simultaneously autonomous and contingent, an intimate, self-contained reflection of his life and a reference to the Italian art historical canon that animates his compositions.Giulio Noccesi, La tua ex con un altro (Your ex with someone else), 2024. Oil on canvas, 19.75 x 19.75 in (50 x 50 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY.Giulio Noccesi, Paesaggio di campagna (Countryside landscape), 2025. Oil on canvas, 15.75 x 11.75 in (40 x 30 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY.Giulio Noccesi, Renault Scenic, 2024. Oil on canvas, 23.5 x 23.5 in (60 x 60 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY. -
Zijn er afleveringen die ontbreken?
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Johanna Calle was born in 1965 in Bogotá, where she lives and works. Following her studies in the visual arts at the Talleres Artísticos of the Universidad de los Andes in Bogotá from 1984 to 1989, Calle received a British Council scholarship in 1992 to earn a master’s degree at the Chelsea College of Art and Design in London. Her work draws on a range of archival and deciphering techniques, often associated with everyday life, to address the violence of recent Colombian history and evoke the victims of forced disappearances.
Johanna Calle has been honored with numerous prestigious awards, including major prizes and honorary recognitions in Colombian art salons (1996–2003), a fellowship at the Cité Internationale des Arts in Paris (2001), and international grants and residencies in Europe and the United States (2008–2013).
She has been included in international biennials such as the Sydney Biennale (2016), the São Paulo Biennial (2014), SITE Santa Fe (2014), and the Istanbul Biennial (2014).
Selected exhibitions include Arquitecturas, Bienvenu Steinberg & C, New York (2026); Museum of Contemporary Art Denver (2024); Hayward Gallery (2020); Josée Bienvenu Gallery, New York (2019); La Maison de l’Amérique latine, Paris (2017); Museum of Modern Art (2017); Silentes 1985–2015, Museo de Arte del Banco de la República, Bogotá, traveled to Museum Amparo, Puebla, Mexico (2015); Fondation Cartier pour l’art contemporain (2013); the Drawing Room, London (2013); Wattis Institute for Contemporary Arts in San Francisco (2012); Museum of Latin American Art in Long Beach, California (2012); Sàn Art in Ho Chi Minh City, Vietnam (2012); and San Francisco Museum of Modern Art (2011).
Her work is included in institutional collections such as the Museum of Modern Art; Tate Modern; San Francisco Museum of Modern Art; Museum of Modern Art, Buenos Aires; Fondation Cartier pour l’art contemporain; Museum of Fine Arts, Houston; Museum of Latin American Art, Long Beach; Museum of Bogotá; National Museum of Colombia, Bogotá; National Bank of the Republic of Colombia, Bogotá; Cisneros Fontanals Art Foundation, Miami; Sur Collection, San Francisco; Comfenalco Antioquia, Medellín; Enersis Collection, Santiago; and Teorética Museum, San José.
Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image)Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image)Johanna Calle Abstractas, 2026 Signed and dated on the back Erased found chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 6 in (image) -
Anna Johnson studied English, Australian literature and Fine Arts at the University of Sydney graduating with a bachelor of arts in 1987. The following year she was appointed Art Editor of Interior Design magazine. Since then, Johnson has been a professional art writer and author contributing to Vogue (UK and Aus), Vanity Fair, Conde Nast Traveller, The Sydney Morning Herald and as a senior arts writer for Artist Profile Magazine. She is the author of several monographs and has been a critic for both television and radio.
Holding many detailed artist interviews, provided an immersion in contemporary art three decades deeper than a conventional art school education. Raised in New York in the early 70s, time in her father’s loft studio on the Bowery, as well as the artist enclaves at Max’s Kansas City and Fanelli’s Bar in Soho had a formative impact. Making the gallery rounds each Saturday as a small family, laid the foundations of a lexicon steeped in both Colour Field and Lyrical abstraction. Establishing her own full time studio practice in 2017, three solo shows in Sydney followed, including a museum show at the NERA Museum in Australia. Johnson’s distinct griffe strikes a different chord to the dominant animism of Australian painting. Seven visits to Japan over the last decade, inspired her austere and symbolic use of space. The subtle rituals and expansive space within Heian screens, and calligraphy have been fused to a hyper-sensual use of colour.Her consuming project ongoing are the ‘Nymphaea Nymphaea’ paintings, works that speak directly to the expansive and progressively minimal paintings of the late and post-Impressionists. As her works grow larger and more complex the scope of creating an entire environment without spatial periphery is approached.
Anna Johnson, Beau Rivage, 2026, Oil stick and acrylic on linen, 78 3/4 x 72 7/8 in | 200 x 185 cm © Anna Johnson. Photo: Morgan Waltz / Off PhotographyAnna Johnson, Nuage et Vide, 2026, Acrylic on linen, 78 3/4 x 70 7/8 in | 200 x 180 cm © Anna Johnson Photo: Morgan Waltz / Off PhotographyAnna Johnson, Tohji, 2025, Oil stick and acrylic on linen, 60 1/4 x 54 in | 153 x 137 cm © Anna Johnson. Photo: Morgan Waltz / Off Photography -
Bat-Ami Rivlin is a New York-based sculptor working primarily in found and surplus objects.
Notable exhibitions include Boat, Plastic, Tire, L21, Spain (2023-24); Simple Sabotage, Kunsthal NORD, Denmark (2023-24); The Socrates Annual, Socrates Sculpture Park, NY (2023-24); COLAPSO, Tenerife Espacio de las Artes, Spain (2022); EN-SITIO, Museo de la Ciudad de Querétaro, Mexico (2022); whereabouts, Hessel Museum of Art, CCS Bard, NY (2022); No Can Do, M23, NY (2021); and more.
Rivlin’s work was featured in publications such as Artforum, BOMB, Brooklyn Rail, Flash-Art, Emergent magazine, Artnet, PIN-UP, Office Magazine, The Paris Review, Public Parking, and more. Rivlin holds an MFA from Columbia University. She is the recipient of the Monira Foundation Residency, Sculpture Space Residency, Socrates Sculpture Park Fellowship, A.I.R. Gallery Fellowship, among others.
Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky.Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky.Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky. -
Jesse Egner is a queer artist and educator based in Brooklyn, New York. Often taking the form of playful and absurd photographic portraiture of himself and other individuals, his work explores themes such as queerness, body image, relationships, collaboration, and humor.
He received his BA from Millersville University of Pennsylvania in 2016 and his MFA from Parsons School of Design in 2020. His work is included in the permanent collection at the Kiyosato Museum of Photographic Arts, and has been exhibited and published globally.
He is a NYSCA/NYFA Artist Fellowship recipient and has participated in residencies at the Santa Fe Art Institute in Santa Fe, New Mexico; Bunnell Street Arts Center in Homer, Alaska; Studio Vortex in Arles, France; Yaddo in Saratoga Springs, New York; the Vermont Studio Center in Johnson, Vermont; TILT Institute in Philadelphia, Pennsylvania; and the Saltonstall Foundation in Ithaca, New York.
His solo exhibition, “I Want to See How Things Play Out,” which was previously exhibited at Blue Sky Gallery in Portland, Oregon in June 2025, will be opening at Flow Space Gallery in New York City on June 11th.
Mirrored Hold, 2020, 24 x 30 inches, archival pigment printLite Brite, 2021, 37.5 x 30 inches, archival pigment printOK Hooker (Hooker, Oklahoma), 2022, 30 x 24 inches, archival pigment print -
Nicola Tyson was born in 1960 in London, England. She attended Chelsea School of Art, St. Martins School of Art and Central/St. Martins School of Art in London, and currently lives and works in New York.
Primarily known as a painter, Tyson has also worked with photography, film, performance and the written word, in addition to running Trial BALLOON, an NYC project space in the early 90s.
In 2023, Nicola Tyson: Selected Paintings 1993-2022, the most comprehensive overview of the artist’s work to date, was published. In 2011, Tyson released the limited-edition book Dead Letter Men, which is a collection of satirical letters addressing famous male artists. Her unique archive of color photos documenting the London club scene of the late 1970’s — Bowie Nights at Billy’s Club — was the subject of shows, both in New York and London, in 2012 and 2013.
In 2025, Tyson was commissioned for Hayward Gallery’s public project banner. Tyson has mounted solo exhibitions at Petzel Gallery, New York (2026, 2025, 2024, 2020, 2016); Nino Mier Gallery, Los Angeles (2024); Nino Mier Gallery, Brussels (2022); Sadie Coles HQ, London (2021, 2017, 2013); The Contemporary Art Museum St. Louis, St. Louis (2017); The Drawing Room, London (2017); Nathalia Obadia, Paris (2015); Susanne Vielmetter Gallery, Los Angeles (2014); White Columns, New York (2012), among others.
She has participated in group exhibitions at the Design Museum, London (2025); The Modern Art Museum of Forth Worth, Fort Worth (2022); Art Institute of Chicago, Chicago (2021); Drawing Room, London (2021, 2018); Drawing Center, New York (2020); Whitechapel Gallery, London (2018); Cleveland Institute of Art, Cleveland (2016); Wexner Center for the Arts (2013); and Museum of Modern Art, New York (2012); among others.
Tyson’s work is included in major collections such as Museum of Modern Art, New York; Whitney Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Philadelphia Museum of Art, Philadelphia; Museum of Contemporary Art, Chicago; UCLA Hammer Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; Walker Art Center, Minneapolis; Corcoran Gallery of Art, Washington, D.C.; and Tate Modern, London.
Nicola Tyson, Random Attachments, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York.Nicola Tyson Nature Nurture, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York.Nicola Tyson Motherload, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. -
Christina Kruse, the New York-based artist whose practice navigates the shifting terrain of value, perception, and collective meaning, opens her latest solo exhibition Field Agents this April 2nd, 2026 at New Discretions. Curated by Tamar Dresdner, the exhibition unfolds as a study in instability – where systems of belief are unsettled and reassembled in response to a world in flux. Working across sculpture, wall relief, and collage, Kruse positions negotiation not as resolution, but as a condition of existence – an ongoing recalibration between competing truths.
Bruchlinien (Fault Lines), 2026Bedingter Anspruch (Contingent Claim), 2026Der Erbe (The Heir), 2026Der Porter (The Porter), 2024 -
In this new body of work, Giordanne Salley constructs shifting tableaus that attempt to visualize not time itself, but the feeling of the passage of time. Our experiences of life can often feel like we are riding along on time’s arrow. Days repeat and build like the rhythm of waves lapping at the shore. Each tide brings forth trash and treasures, bits of flora and fauna, before the lunar cycle pulls them back out to sea. So too does one’s conscious experience of life move through time, accumulating, folding in on itself, and gradually building into the future.
Ripples and corrugations form over Salley’s images, diffracting their shapes into myriad frames. Like peering at the bottom of the sea through the waves, we see the subjects dance in the minute turbulence. In pieces like Endlings, these scenes verge on abstraction. Though semi-psychedelic in their optical qualities, Salley’s paintings are rooted in the natural world. Animals and human forms bathe in the undulations, adding a moment of specificity while also acting as a tether to reality and a reminder that these patterns depict the fluctuating surface of water.
Coursing through glowing layers of energy, works like Infinity Loon pair discernible imagery with vibrating geometry. The waterfowl, leaving a wake in the paint behind it, upsets the lines and creates a cascading pattern that echoes toward the edges of the frame. Though often based around real-world subjects, in these new works, Salley does away with the horizon line in an effort to flatten the surface and invoke a feeling of the infinite. Repetitive and continuous, her lines and patterns are full of potential as they press onward and outward.
Finding her color by applying paint in numerous thin layers, Salley works around predetermined lines, building up meditative markings of the hours spent. With every new application, the image grows richer. The use of collage and underdrawing affords each canvas a nuanced texture, both physical and visual. In Time Flows, Salley combines these elements as “a sort of scaffolding to hang the painting on or around.” Intense investigation rewards the viewer with subtle glimpses into the artist’s process. Each piece becomes a palimpsest, offering ghostly reminders of the past that push through to the final image.
At the heart of all of this is a potent rumination on universal themes through the lens of Salley’s own subjectivity. Like time, so too do ideas of love, loss, and memory ebb and flow infinitely like the tides. Slipping through fingers like the ocean in our hand, the present is instantaneous and always on the way out. Salley slows down these moments, capturing them in paint and offering a moment of contemplation and reverie, reminding us that everything is always changing and evolving. Reflecting the world around it, offering vital nourishment to life, and functioning as a symbol of the incomprehensible vastness of time and consciousness, water is transformative.
Subtle Bodies, 2025, 12 x 14 in, oil and paper on canvasQuasi-Material Woman, 2026, 40 x 48 in, oil and paper on canvasTime Flows, 2026, 60 x 78 in, oil and paper on canvas -
Splat Daisies, is a solo exhibition of dreamlike paintings and sculpture by Sarah Alice Moran. Splat is a cartoon word and the spaces in these paintings draw on that system of suspended rationale. By loosening the rules of scale, gravity, and time, Moran creates dreamy pastoral scenes where humans, animals, and nature coexist without hierarchy. The show explores the quiet, almost mystical bonds between humans and animals, and the ways they shape our emotional lives.
Moran paints wet-on-wet, letting thin washes of color blend and bleed across the canvas. Sunflowers dissolve into daisies, shadows become shapes, and light seemingly glows from the flowers themselves. Her compositions balance the elastic logic of cartoons with a sophisticated command of color and atmosphere. Figures, rainbows, and blossoms appear in different configurations while animals move through these spaces less as narrative agents but as symbolic or devotional presences.
Among them, inevitably, is the artist’s dog Pepper. Pepper died early in the making of this series, and her prolonged illness ushered in an extended period of anticipatory grief. During this time, Moran found solace in researching ancient Roman dog epitaphs—concise, tender monuments that affirmed the endurance of this bond across millennia.
The result is a body of work that is a meditation on companionship, loss, and remembrance—a garden for Pepper to inhabit and for the artist herself to heal within. Two large-scale column paintings, inspired by the artist’s research on ancient Rome, create an architectural space – a temple – for the sculptures to operate as a shrine, and visitors are encouraged to bring their dogs; milk bones will be provided.
Sarah Alice Moran, Bodega Flower Dream, 2025, Acrylic on canvas, 11 x 14 inchesSarah Alice Moran, Good Night P, 2026, Acrylic on canvas, 60 x 48 inchesSarah Alice Moran, Sun (Flower) Bather, 2026, Acrylic on canvas, 11 x 14 inches -
De Mont’s practice emerges from her work as an intuitive guide, leading immersive experiences in which participants are invited into states of openness and release. It was within these rituals that she began making photographs — images conceived not as portraits but as reflections, offering back to each subject a picture of themselves liberated from the hierarchies of identity and status. The camera, in De Mont’s hands, becomes a kind of witness to what she describes as a direct encounter with the divine.
What results is a body of work of striking formal beauty and genuine spiritual weight. A figure floats in a glacial pool, arms wide, body small against the massive indifference of boulders and jade-green water — surrendered, but also luminous. A woman lies curled on a sand dune at dusk, the full moon burning above her in a wide blue sky, the curve of her back answering the curve of the earth. Throughout, De Mont is drawn to moments when the border between the human figure and its surroundings seems to dissolve — not in romantic idealization, but in something closer to fact.
De Mont is particularly drawn to the feminine as a site of intuition and receptivity, and she often photographs two or three figures together, finding in that small gathering an amplification of communion — bodies acting as extensions of each other and of the earth itself. “We are incredibly sophisticated energy beings, I hope to capture a transmission that is contagious, that makes our bellies soften with peace and belonging.” It is a quality her pictures genuinely carry. They ask something of the viewer — a willingness to be still, to look, to feel the pull of a life that is waiting.
Stella De Mont is based in Los Angeles. This Life Wants You is her first solo exhibition with Benrubi Gallery.
Stella De Mont, Owls, 2024Stella De Mont, Glory, 2024Stella De Mont, Cradled, 2025 -
Michalik has exhibited internationally in art institutions, fairs, university galleries, community spaces, and commercial galleries the current show of this interview at Kathryn Markel.
Her paintings have been published internationally in Architectural Digest, Michalik’s newspaper, “Devour,” was published in collaboration with Brooklyn based Raw Meat Collective, and was recently acquired by the Museum of Modern Art Library in New York. It was displayed in the exhibit, “Please Knock: A Teen Album of Art” at MoMA through October 1st, 2023. Her painting “I Feel with my Eyes,” is in the permanent collection of WAG-Qaumajuq and is currently on view in the exhibition “Backyard Florilegium” through March 31, 2025.
Michalik lives and works in Brooklyn, NY.
Tess Michalik, Possession, 2026 oil on canvas 48 x 40 in.Tess Michalik, Could Heaven Ever Be Like This, 2025 oil on canvas 45 x 32 in.Tess Michalik, Love Crimes, 2025 oil on panel 30 x 24 in. -
David Smalling portrait © Stefen Pompee
Born in 1987 in Kingston, Jamaica, David Smalling lives and works in New York City. He studied Mathematics at Yale University, where he also trained at the Yale School of Art, and holds a Ph.D. from Harvard University.
Drawing from the tradition of Mannerism and the Dutch Golden Age, Smalling’s paintings examine how contemporary social codes and gender norms shape identity and behavior. Through carefully constructed domestic and ceremonial scenes, he explores themes of belonging, aspiration, and restraint, questioning the roles we inherit and perform.
The exhibition of all new paintings on wood panels takes its title from the Elizabethan collar, the veterinary device colloquially known as the “cone of shame”—a protective apparatus designed to prevent an animal from tearing at its own sutures. The collar, as depicted in Cone of Shame, becomes a metaphor for conditional belonging: entry into a space that promises safety and prestige while quietly limiting autonomy.
David Smalling, Party Favor, 2026 Oil on panel 61 × 91.5 cm — 24 × 36 in. Courtesy of the artist and Templon, Paris – Brussels – New York. Photo © Charles Roussel.David Smalling, Cremaster, 2025 Oil on panel 51 × 61 cm — 20 × 24 in. Courtesy of the artist and Templon, Paris – Brussels – New York; Photo © Charles Roussel.David Smalling, Follicular, 2025 Oil on panel 91 × 61 cm — 36 × 24 in. Courtesy of the artist and Templon, Paris – Brussels – New York. Photo © Charles Roussel. -
Catherine Birk (b. 1994, she/her) is an artist and researcher currently based in Chicago, IL.
Her interdisciplinary practice brings transgender studies, queer theory, and critical theory into the expanded field of painting. Catherine earned her MFA in Painting at the University of Wisconsin – Madison (2024), and BAs in Studio Art and Art History from the College of Charleston (2016). Solo exhibitions include My mother is a horse., at the Chazen Museum of Art (Madison, WI).
She has exhibited in group shows nationally, including at Redux Contemporary Art Center (Charleston, SC), Trout Museum of Art (Appleton, WI), Arts + Literature Laboratory (Madison, WI), Real Tinsel (Milwaukee, WI), and D. D. D. D. (New York, NY).
Catherine Birk | hut (interference), 2025 Oil, acrylic, cold wax medium and netting on canvas 13 x 15.5 inchesCatherine Birk | dam (for Morandi), 2025 Oil, acrylic, cold wax medium, and Dragon Skin Silicone on panel with artist’s frame 17 x 21 inchesCatherine Birk | hut (for Strega Nona), 2026
27 cast beeswax slabs; dried herbs and essential oils of rosemary, thyme, basil, sage, and
oregano; cast urethane rubber; bolts
Dimensions variable: 11 x 14 inches each -
dean erdmann lives and works between San Diego, CA and Brooklyn, NY. dean erdmann is an interdisciplinary artist in moving and still images, sculpture, and installation. Their sculptural practice evolved from their image-making practice. They live and work between Brooklyn, NY and San Diego, CA.Their work has been exhibited at ONE Archives, Mexicali Biennial, Hammer Museum, REDCAT, 21st Century Museum of Contemporary Art, Kanazawa, Spiral Hall, Tokyo, Kavi GuptaBerlin, the Sheila Johnson Design Center, Torrance Art Museum, and Public Fiction, among many others. Their permanent public commission for the LA K-line Leimert Park Station opened Fall 2022. Over the following years, they collaborated with an evolving team of dedicated artists and producers—Grace Whiteside, Celeste Wilson, Christopher Duffy, Esteban Salazar-Cucalon, Michael Haddy, and James Corporan, —while receiving support from fellowships and residencies at Vera List Center for Art and Politics, Urban Glass, and The Chinati Foundation.Installation view: dean erdmann, Vitrum, Company Gallery, 2026dean erdmann, 700cc, 2026 Hot mold blown glass and steel armature 28 x 18 1/2 x 14 indean erdmann, (detail image) razr 2 (front), 2026 Hot blown mold glass 23 x 23 x 9 in
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Rochelle Voyles (b. 1989, Toledo, Ohio) is a Brooklyn based multi-disciplinary artist whose works explore the cyclical nature of humanity’s patterns and the underlying impulses that drive behavior. Mining historical textile diagrams and found images, Voyles arranges fragments of different moments meticulously in collage on-wood cut sculpture. She dislocates, interrupts, and re-purposes found images in order to decontextualize her experience of reality and decipher our collective relationship to photographs.
She received her BFA in Fine Arts/Printmaking from Pratt Institute in 2012. She is an upcoming resident of the Wassaic Project, and was a resident at The Peter Bullough Foundation, the Byrdcliffe Arts Colony and the ChaNorth Residency. She has shown at galleries in New York such as Below Grand, 81 Leonard Gallery, Trestle Gallery, Peninsula Art Space, Field of Play Gallery, and Collarworks. Voyles has been published in blogs and online such as Collé, Shoutout LA, Paradice Palase, and The Jealous Curator.
Her recent solo show “Unreliable Narrators” at 81 Leonard has been featured as a March 2026 editors select in Impulse Magazine, and as an editorial feature on Art Rabbit. Additionally, the show received favorable reviews in Art Spiel and White Hot Magazine.
Neptune in Pisces, 2026Mixed media; collage, paper, and wood, 20 x 23 in.
The Bowline at Dusk, 2025 Mixed media; collage, paper, and wood 32 x 31 in.Returned in Fragments, 2026 Mixed media; collage, paper, wood 8 x 7 in. -
Sebastiaan Bremer and son Tobias
Bremer turns photographs—found or snapped—of himself, his family, and appropriated imagery into trippy, dust-laden memories that, through his layered pointillist technique, reveal the subconscious and the real world in the blink of an eye. By laboriously painting his poetic braille over fast snapshots, he slows down time to render hauntingly beautiful interior landscapes—spaces where personal memory, art history, and cultural symbolism converge.
He maintains an extensive archive of images, ranging from intimate family photographs to pages sourced from historical flower books, particularly those rooted in the Dutch tradition of floriculture. Carefully sorting through this material, Bremer selects images that resonate with his memory, using them as the groundwork for each piece. His recurring engagement with floral imagery—tulips, roses, irises, and other blooms—places his work in dialogue with a long lineage of Dutch still life painting, while simultaneously reconfiguring it through a contemporary, psychological lens.
Once an image is chosen, redeveloped, and printed to size, Bremer begins to draw intricate webs of small dots with white retouching paint across the photographic surface. Paradoxically, this process obscures sections of the original image while redefining others, embedding new layers of meaning. His ethereal markings spread organically, like mycelial growth, evoking both proliferation and decay. Thin washes of coloured India ink are occasionally added, creating visual sensations akin to the colours perceived behind closed eyes.
Within his flower works, blooms become more than decorative motifs—they function as mutable symbols, at once seductive and unstable. Expanding, dissolving, and recombining across the surface, they evoke associations ranging from the intimate to the historical, from cycles of growth to the fragility of life. Drawing on the legacy of tulip imagery in the Netherlands—where beauty, commerce, and speculation have long been intertwined—Bremer’s practice reflects on the enduring entanglement of desire, value, and transience. His flowers carry echoes of memento mori traditions, embodying both vitality and inevitable decay, suggesting the delicate balance between joy and loss.
Each piece varies in its level of abstraction, shifting between figuration and dissolution. The visceral quality of Bremer’s work lies in its inventiveness and technical complexity, while his compositions maintain a fine balance between the intricate and the bold. Whether rooted in a fleeting emotion, a resurfacing memory, or the symbolic charge of a flower in bloom, each work opens onto layered worlds—where the personal and the historical, the aesthetic and the existential, unfold simultaneously.
Sebastiaan Bremer, Cunning stunts, 2025Sebastiaan Bremer, However humanity, 2025Sebastiaan Bremer, One foot resting on the ground, 2025 -
Leonardo Madriz (b. 1987, Louisiana) is an interdisciplinary artist based in Brooklyn, NY. He makes expanded cinema installations and material assemblages regarding the inter- and inner-states of belonging.Madriz holds an MFA from Hunter College, NY (2021) and a BFA from Louisiana State University (2010). Residency awards include Sharpe-Walentas Studio Program (2024-25), Bemis Center (2024), Wassaic Project (2024), and Vermont Studio Center (2014). Solo shows include Sisyphus Altered at Strobe, New York, NY (2023) and Can’t Forget, Dying to Know at NARS Foundation, Brooklyn, NY (2023). His installation Letters to Home was selected for CURRENTS New Media Festival in Santa Fe, NM (2022), and a reformatted excerpt of Letters to Home II was presented by the DUMBO Projection Project (2025). Recent group exhibitions include Repair at Shadow Walls for Upstate Art Weekend, NY (2025) and I’m Not Alien, I’m Discontent at the Hessel Museum, Annandale-on-Hudson, NY (2024). Permanent collections include the LSU Museum of Art. He is currently an adjunct faculty at the International Center for Photography.Leonardo Madriz, Sentinel Adorned in the Leavers’ Wake, 2025. Image by Gustavo Murillo, Courtesy of Parent Company Gallery. Leonardo Madriz, Down Is the New Up (Möbius Recalibrates), 2025. Image by Gustavo Murillo, Courtesy of Parent Company Gallery. Leonardo Madriz, Sentinel of Lacrimosa Guerrero, 2026. Image by Gustavo Murillo, Courtesy of Parent Company Gallery.
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Photo: Emma Jenkinson
Torbjørn Rødland (b. 1970, Stavanger, Norway) makes photographic images that pointedly address their viewers, evoking a wide range of emotional and intellectual states. Curiosity, humor, criticality, artifice, reverence for the natural world, and romanticism appear throughout his work and often in the same image. Rødland also emphasizes the formal attributes of his photographs, pushing the medium toward modes of visual expression more commonly associated with painting, and forging links between twentieth-century art photography and twenty-first-century approaches to image-making common to advertising and social media. Often prompted by non-photographic imagery that he transforms into real-world photographic subjects, Rødland portrays scenes designed to generate psychological reaction through his depiction of highly sensory qualities. The physicality present in the work is driven by his use of film-based cameras and chemical darkroom processes. Torbjørn’s first exhibition at David Kordansky Gallery’s New York location, Bones in the Canal and Other Photographs, is on view now through April 25, 2026.
Rødland, The First Curtain, 2024-2026Rødland, Forgetting Victoria, 2025Rødland, Tavener’s The Lamb, 2024-2026 -
Kevin Umaña (b. 1989, Los Angeles, CA) is an artist who lives and works in Brooklyn, NY. Spending his early years between Los Angeles and El Salvador, Umaña’s personal history has profoundly shaped his visual language.
In El Salvador, he was immersed in a rural environment rich with natural textures, vibrant flora, and traditional crafts. While in Los Angeles, he confronted the intensity of city life and the pressures of assimilation. This duality seeded the fragmented forms and layered symbolism that define his art today. His practice continues to carry echoes of Latin American patterns, nature’s geometry, and American architectural influences, all reimagined through abstraction.
Umaña received his B.F.A from San Francisco State University in 2014. In 2025, Umaña received the Louis Comfort Tiffany Foundation Award. He has completed residencies at the Josef and Anni Albers Foundation (2024); Anderson Ranch (2024); Sharpe-Walentas Studio Program (2023-24); Archie Bray Foundation for the Ceramic Arts, Helena, MT (2023); The Center for Book Arts, New York (2019). In 2017, Umaña created a permanent installation at the United Nations Headquarters in New York City. Institutions owning his work include The United Nations Art Collection, New York; Everson Museum of Art, Syracuse, NY; Munson, Utica, NY; Fidelity Mutual Funds Collection; Center for Book Arts Library, New York; and The Marin Museum of Contemporary Art, Novato, CA. In 2026, Umaña will be participating in the MacDowell Fellowship in New Hampshire.
Kevin Umaña, Revisiting the Roman Walls, 2026. Acrylic, oil, flock, ink, sand, marble dust, salt, resin, ceramics on canvas, 24 x 18 x 2 3/4 inches.Kevin Umaña, Sanguine and Spiraling, 2023. Acrylic, oil, vinyl paint, flock, ink, sand, gouache, ceramics on canvas, 24 1/4 x 18 1/4 x 1 1/2 inches.Kevin Umaña, The Clothesline Appearing as Aqueducts, 2025. Glaze on stoneware, 12 5/8 x 10 7/8 inches - Laat meer zien
