Artist portrait courtesy of Julian Espino.

Born in San Francisco in 1986, Tony Huynh graduated from the California College of the Arts and now works from his studio in Sacramento, CA.

His paintings are part of international collections and have been included in solo and group exhibitions, including at the San Diego Museum of Art, CA; Crocker Art Museum, Sacramento, CA; Marin Museum of Contemporary Art, CA; Pablo’s Birthday, New York, NY; Scroll NYC, NY; and Galerie Christian Lethert, Cologne, Germany.




Tony Huynh, Memento, 2025 oil on panel, in artist's frame 12 x 12 in 30.5 x 30.5 cm Image courtesy of Mikhail Mishin. 

Tony Huynh, Morning Ferry, 2025 oil on panel, in artist's frame 12 x 12 in 30.5 x 30.5 cm Image courtesy of Mikhail Mishin. 

Tony Huynh, Wish I knew, 2025 oil on panel, in artist's frame 10 x 10 in 25.4 x 25.4 cm Image courtesy of Mikhail Mishin. 

Lexia Hachtmann (*1993 in Berlin) is a British-German artist. She completed her Art and Design Foundation Diploma in 2013 in Brighton and returned to Berlin to continue her studies in Fine Art Painting at Universität der Künste Berlin. Here, she obtained a Meisterschüler degree in the painting class of Prof. Mark Lammert in July 2021. Lexia Hachtmann is alumna of the 2022 Goldrausch Künstlerinnenprojekt and went on to study a Master of Fine Art (MA) in Painting at the Slade School of Fine Art, UCL London for which she received the DAAD Grant.
Working in both figurative oil painting and printmaking, Lexia Hachtmann's work deals with conceptions around miscommunication, identity and social hierarchies. To her, the area of the canvas presents a space on which to comprehend, reenact and visualize universal feelings of isolation, intimacy and longing. Lexia Hachtmann's protagonists often move through displaced rooms, stagelike spaces of colour that are neither located in- or outside but rather depict moments of the in-between. Her figures often seem introverted and disconnected from one another, each in their own space, their own mind; fragile yet present. She is engaged in these motives that point to the thresholds; the boundaries between the private and public realm. This could be a physical and/or emotional space. The use of ambiguous objects and situations on the canvas enable her to create banal and yet uncomfortable situations. She aims to retain a certain ambivalence in her chosen subjects so that they may speak to our current and complex times by using fragmented, cropped, blurred, awkward and/or heavily enlarged images. In this way notions of both the fragmentary and the monumental are important trajectories in her work. Lexia Hachtmann's paintings function like film-stills, paused in that very


Bella Donna, 145 x 130cm, Lexia Hachtmann, 2025.jpg

Out of Joint, 145 x 130 cm, Lexia Hachtmann, 2024.jpg

Präsentierteller, 51 x 45.5cm, Lexia Hachtmann, 2025.jpg

Iva Gueorguieva (b.1974, Sofia, Bulgaria, lives and works in Los Angeles, CA) received her B.A. from the Tyler School of Art, Philadelphia, PA.

She has had recent solo exhibitions at Night Gallery, Los Angeles, Bradwolff & Partners, Amsterdam, and Gavlak Gallery, Palm Beach, FL.

Her work is included in public collections such as the Los Angeles County Museum of Art, Los Angeles, CA; Minneapolis Institute of Art, Minneapolis, MN; Museum of Contemporary Art, Los Angeles, CA; Museum of Contemporary Art, San Diego, CA, among others.



Iva Gueorguieva, Field 8, 2025 acrylic, charcoal and gauze on canvas 76.25 x 53 inches




Iva Gueorguieva Animal 12, 2024 acrylic and gauze on canvas 72 x 50.5 inches




Iva Gueorguieva, Kukeri: Birds, 2024 acrylic and gauze on canvas 78 x 50 inches

Sketchbook of the artist referenced in the interview.

Graham Durward was born in Aberdeen, UK and currently lives and works in New York. Durward attended the Edinburgh College of Art (both Undergrad and Graduate) and studied in the Whitney Museum Independent Study Program.
He has had solo shows at Maureen Paley, London; Marianne Boesky Gallery, New York; Peninsula, New York; Step sister, New York; Shrine, New York; White Columns, New York; Sandra Gering Gallery, New York; and more. He has also been featured in exhibitions at Peter Blum Gallery, New York; Gavin Brown, New York; and more. Durward’s work has been reviewed in Artforum, Art Newspaper, Art in America, and the New York Times.


Graham Durward, International Male, 2025 32 h x 28 w inches Oil on linen

Graham Durward, Jet Streaming, 2025 84 h x 60 w inches Oil on linen

Graham Durward, Angel walking a dog, 2025 64 h x 52 w inches Oil on linen

Katja Farin works in figurative painting depicting the interactions between the subconscious and reality. The relationship between figures is uncertain; the everyday life of sitting at coffee shops, wandering in backyard gardens, answering boring phone calls becomes the backdrop for the internal dialogue with the self that contemplates traumas, coping mechanisms, dreams and distortions. The works are dream spaces that allow the viewer to peek into the interior worlds of the figures, their relationships with the self and others. Bright colors, glowing hands and distorted bodies create the dreamlike dysphoric space that these androgynous figures embody.

Farin received a BA in Fine Art from the University of California, Los Angeles in 2018 and is a candidate for an MFA degree from the Slade School of Fine Art in London. Selected solo exhibitions include Friends Indeed (San Francisco), Era Gallery (Milan), Lubov (New York) and in lieu (Los Angeles). Their art has been included in group exhibitions at Pace Gallery (Hong Kong), Alexander Berggruen (New York), Shulmit Nazarian (Los Angeles), Wilding Cran (Los Angeles) and Nicodim (Los Angeles). Their work has been shown in several art fairs including NADA Miami, Miart Milan, KAIF Seoul and Art Taipei Taipei. They live and work in Los Angeles, CA and London, UK.

Backstage Pages, 2025 Oil on canvas,  47 1/4 x 33 1/2 in | 120 x 85 cm

Daytime Time Travel, 2025 Oil on canvas 82 3/4 x 59 in | 210 x 150 cm

Blind Spot Mirror #1, 2025 Stoneware, rearview vehicle mirrors, glaze 23 x 22 x 4 in | 58.5 x 56 x 10 cm

Hoda Kashiha (b. 1986, Tehran, Iran) is a painter whose work fuses humor, fragmented figuration, and political resonance. Trained at the University of Tehran (BFA, 2009) and Boston University (MFA, 2014), she spent several years in the U.S. before returning to Tehran in 2016. Her artistic language combines Persian miniature and pop influences—with digital collage, airbrushed flat shapes, and emotive cartoon references—to probe identity, gender fluidity, and everyday acts of resistance.

Kashiha’s recent solo exhibitions reflect her international trajectory and evolving visual strategy. In 2021, In Appreciation of Blinking at Parallel Circuit in Tehran, followed in 2022 by I’m Here, I’m Not Here at Passerelle Centre d’Art Contemporain in Brest. She was presented in Brussels in 2023 with Another World Is Waiting for Us at Galerie Nathalie Obadia. Most recently, she held her first New York solo exhibition, The Doubt Between Us Sways Like Hung Mirrored Eyes at episode, on view from April 12 to June 27, 2025. The show featured new paintings exploring surveillance, intimacy, and the shifting power dynamics between visibility and erasure.

Her work has been shown in notable venues like Palais de Tokyo, Gagosian & Jeffrey Deitch (Miami Art Week), and Helena Anrather in New York, and has been featured in Artforum, Frieze, and Art in America. She is a recipient of the Joan Mitchell Foundation Grant, MacDowell Colony Fellowship, and Esther B. & Albert S. Kahn Career Entry Award, and her works are held by the Howard Gotlieb Archival Research Center and Commonwealth Hotel collections.

Hoda Kashiha, Folding gaze, 2025 Acrylic on canvas 48 x 37.8 inches (122 x 96 cm) Image courtesy of the artist and episode, NY. Photography by Archtechtonic.

Hoda Kashiha, The hole, 2024 Acrylic on canvas 14 x 18 inches (35.5 x 45.7 cm) 24 x 18 incehs (60.9 x 45.7 cm) Image courtesy of the artist and episode, NY. Photography by Archtechtonic.

Hoda Kashiha, The nightmare, 2024 Acrylic on canvas 40 x 30 inches (101.6 x 76.2 cm) Image courtesy of the artist and episode, NY. Photography by Archtechtonic.

A photo of the artist: Judith Simonian with Charles Yuen

Many of Simonian's works in the exhibition are still lifes, such as “Marysia’s Salon” (2024), which was inspired by a visit to a Polish beauty parlor in her East Village neighborhood. “Bottle Symphony in Red” (2023) recalls Giorgio Morandi. Whereas Morandi’s still lifes are a delicate arrangement of vases, jugs, bowls, urns, and bottles, painted in muted colors—whites, browns, and tans—set against a neutral background, Simonian bombards our senses through her use of high-intensity reds, pinks, blue-greens, grays, blacks, and yellow ochre.

In “Inside Outside” (2023), the artist similarly portrays a room as an expressionistic whirlwind of vivid colors. Simonian’s paintings deal with intervals, or the spaces between points. Simonian’s still lifes often open up an interior space to an exterior one. In “Marysia’s Salon,” a photograph tacked on the wall suggests the world outside. “Bobby Pins of Manhattan” (2023-24) provides a glimpse of the city skyline through the window, including the landmark Empire State Building. “Cat in the Lamp” (2024) depicts a black cat inside an illuminated yellow lampshade in front of a large window that overlooks water.

Simonian employs careful framing to create meaning. It is possible to view several of her landscape paintings as political allegories. In "Greener Pastures" (2025), the shimmering image of the Statue of Liberty appears to be a mirage, while green brushstrokes seem to hint at water on deck or maybe even a school of fish. "Resting on Her Side" (2024) depicts rocky terrain and the bleak spectacle of a capsized ship.

Judith Simonian has had solo exhibitions of her work at 1GAP, Brooklyn; Edward Thorp Gallery, New York City; and John Davis Gallery in Hudson, NY. Her work has been shown in numerous museums, including The New Museum, NYC; MoMA/PS1, NYC; Islip Museum, NY; Montclair Art Museum, NJ; Weatherspoon Art Museum, NC; San Francisco Museum of Art, CA; Santa Barbara Museum of Art, CA; Newport Harbor Art Museum, CA; and the Madison Museum of Contemporary Art, WI. Simonian has been awarded many prestigious honors, including a John Simon Guggenheim Memorial Foundation Fellowship, an Adolph and Esther Gottlieb Foundation Individual Support Grant, and a National Endowment for the Arts Grant. She received her BA and MA degrees from California State University, Northridge. The artist lives and works in New York City.

Greener Pastures, 2025, acrylic on canvas, 24 x 32 inches

Marysia's Salon, 2024, acrylic on canvas, 30 x 20 inches

Enter the Mountain Yellow, 2023, acrylic on canvas, 50 x 66 inches

phot of the artist by Ralph Gabriner

Dena Schutzer in her fifth solo show at Bowery Gallery in New York City titled “Agitation and Retreat”, describes the work saying, “Together, these oil paintings are a chronicle of observed moments in public and private spaces.” Schutzer’s imagery reflects this wide-open approach—what has caught her eye ranges from a view of a New York street in the giant shadows of looming new skyscrapers, to an intimate scene of the artist’s elderly mother taking a bath. Intuiting a kind of drama in these elements of direct perception provides what Schutzer calls the “initial jolt” that impels her to respond in paint.

For Schutzer this mysterious process—the joy and struggle of proceeding from that first sensation to a new, composed reality on the canvas--has everything to do with her pleasure in the possibilities of paint itself.  Her loose but decisive brushwork and bold color tensions and harmonies—acid greens, clashing blues, pervasive violets—don’t let go of the viewer until one has taken in all the oppositions, juxtapositions, parallels from which her brushstroke emerges, still present as a brushstroke, but also, finally, as an essential part of a new and highly personal image.

Dena Schutzer has had 5 solo shows with the Bowery Gallery in NYC, and has been in group shows at The Painting Center-NYC, Westbeth-NYC, Washington Art Association-CT, Kingsborough College-Brooklyn, Brooklyn Waterfront Artists Coalition-BWAC, Hudson Park Library-NYC, Romano Gallery-NJ, Irvington Library, Yonkers Riverfront Library, TC Columbia U- Macy Gallery. She taught painting and was head of the art department at the Abraham Joshua Heschel High School in NYC for 21 years, has been a visiting teaching artist at schools throughout Westchester County and NYC.  She illustrated six children’s books for Simon and Schuster, Knopf, and Scholastic among others, and her editorial illustrations have been published in newspapers and magazines including The NY Times, The New Yorker and NY Newsday.

Schutzer attended Skowhegan, NY Studio School, BFA from Suny at Purchase, MFA (in Film) from Yale University, MFA in Art Ed at Columbia University.

“Buildings, Yellow Cloud”, oil on canvas, 16”x12”, 2025

“Arm Outstretched”, oil on canvas, 12”x16”, 2023

“Four Men Working”, oil on canvas, 18”x20”, 2024

Julianne Nash

Julianne Nash (b. 1991, Massachusetts) is an artist whose work exists at the intersection between photographic collage and digital painting; she utilizes algorithms inherent to Photoshop in conjunction with traditional compositing techniques to create densely layered landscape images that contend with both personal and climate-driven grief. Color is an integral aspect of Julianne’s work; ranging from dark, depleted and disappearing images to artificially saturated color palettes driven by neural imaging algorithms. All of Julianne’s landscapes are of no specific place – rather are meticulously created collages of numerous photographs. Often inspired by places within the environment that evoke an unknown sadness, fear or discomfort, Julianne’s work explores the complex relationship between personal, cultural and natural histories visible within our ever-changing landscape.


This interview was done on the occasion of her exhibition, Flora non Grata at Amos Eno gallery.




Julianne Nash,, Juniper and Sagebrush (22 Images), 2024. Dye-sublimation print on celtic cloth. 100 x 142".




Julianne Nash, Former Glacier (39 Images), 2022. Archival pigment print, mounted to sintra. 40 x 63"

Julianne Nash, Artemisia Tridentata No. 3, 2024. Archival pigment print, mounted to sintra. 50 x 40".

Elizabeth Ravn (b.1994, Brooklyn, NY) received a Bachelors in Fine Arts from the School of the Art Institute of Chicago, Chicago, IL in 2016.

She lives and works in Berlin.

Recent solo and group exhibitions include David Peter Francis, New York (2025); die raum, Berlin (2024); Deborah Schamoni, Munich (2023); SOX, Berlin (2023); KINDL Centre for Contemporary Art, Berlin (2022); ChertLüdde Bungalow, Berlin (2022); Kinderhook & Caracas, Berlin (2021); Kjøpmannsgata Ung Kunst, Trondheim, (2021); and Pina, Vienna (2019).

Elizabeth Ravn, Bild, 2024, oil on canvas, 39 3/8 x 31 1/2 inches (100 x 80 cm). Courtesy of the artist and David Peter Francis, NY.

Elizabeth Ravn, Cubbyhole, 2025, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NY.

Elizabeth Ravn, November, 2024, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NY

Elizabeth Ravn, Telephone, 2024, oil on canvas, 27 1/2 x 19 3/4 inches (70 x 50 cm). Courtesy of the artist and David Peter Francis, NY.

Carolina Fusilier (b.1985, Buenos Aires) is a multidisciplinary artist who explores the physicality of technology, notions of non-linear time, and post-human imaginaries at the intersections between organic and mechanical bodies, industrial and domestic settings. Her work takes various forms through moving image, painting, sound, and site-specific projects.



Carolina Fusilier lives and works in Oaxaca, Mexico. She studied at the Universidad del Cine in Buenos Aires and completed postgraduate programs at Universidad Torcuato Di Tella (2011), SOMA in Mexico City (2016), and was a guest student at the Düsseldorf Academy under Rita McBride in 2018.

Recent solo and duo exhibitions include Imago, Margot Samel, New York, NY (2025); ¿Cómo se escribe muerte al sur?, Museo Anahuacalli, Mexico City, Mexico (2025); Isla Eléctrica, PEANA, Mexico City, Mexico (2024); Nuit Blanche, Toronto, Canada (2024); Espejo-Espectro, MALBA, Buenos Aires, Argentina (2024); Corrientes Mercuriales, Museo Jumex, Mexico City, Mexico (2023); Clepsidra, Daniela Elbahara Gallery, Mexico City, Mexico (2021); Kitchen with a View, Locust Projects, Miami, FL (2019); and Angel Engines, Natalia Hug, Cologne, Germany (2018).

Selected group exhibitions include Otr’s Mund’s, curated by Aram Moshayedi and Lena Solá Nogué, Museo Tamayo, Mexico City, Mexico (2025);Yendo de la cama al living, curated by Enrique Giner, Salón ACME, Mexico City, Mexico (2025); Breaking up of ice on a river, curated by Lilian Hiob, Margot Samel, New York, NY (2024); Casa Ideal, Proyectos Multipropósito, Mexico City, Mexico (2024); Linhas Tortas, Mendes Wood, São Paulo, Brazil (2023); Hic Sunt Dracones, Deli Gallery, Mexico City, Mexico (2023).

Carolina Fusilier, Súbitamente (IMAGO station), 2025, Oil on hexagonal canvas, stainless steel and speaker. Audio by Miko Revereza., 90 1/2 x 157 1/2 x 2 in | 230 x 400 x 5 cm. photo by Matthew Sherman

Carolina Fusilier, Altar II (Imago Lab), 2025 Oil on hexagonal canvas, stainless steel frame 35 3/8 x 25 5/8 in | 90 x 65 cm. photo by Matthew Sherman

Carolina Fusilier, War song II, 2025, Oil on hexagonal canvas, 31 1/2 x 19 3/4 in | 80 x 50 cm. photo by Matthew Sherman

Cianne Fragione (b. 1952) is a multidisciplinary artist. With roots in the San Francisco Bay Area Beat and Funk art milieus, she has developed her own process-oriented artistic vocabulary over the past four decades that crosses boundaries between abstract painting and sculpture, and between object and image. A striking combination of oil paint, mixed-media materials, found objects, and textiles characterizes her signature style. Each piece, whether two- or three-dimensional, is built slowly over lengthy periods, becoming a dense synthesis of influences and personal perspectives, including mid-century gestural abstraction and the physical fluency of her early training as a professional dancer. While a sense of space and movement dominates her two-dimensional works, her assemblage pieces tend to be denser and more corporeal. Her most recent works respond to two collections of poems by Italian poet and writer Eugenio Montale: Mediterraneo and Ossi di Seppia.  
Fragione has exhibited extensively in solo and group exhibitions nationally and internationally, including at St. Mary’s College Museum of Art, Moraga, CA; Georgetown College, KY; Anya and Andrew Shiva Gallery, New York, NY; American University Museum, Washington, D.C.; John D. Calandra Italian American Institute of Queens College, CUNY, New York, NY; Associazione di Museo D’Arte Contemporaneo Italiano, Catanzaro, Italy; Harmony Hall Regional Center, Washington, MD; University of Scranton Art Museum, Scranton, PA; The Textile Museum, Washington, D.C.; Art in Embassies, Geneva, Sofia, Bulgaria, and Vilnius, Lithuania; Indianapolis Art Center, IN; and San Francisco Museum of Modern Art Gallery, CA.  
Her works are held in numerous public collections, including the Baltimore Museum of Art MD; DC Commission Art Bank Collection; Art in Embassies Permanent Collection, U.S. State Department, Guadalajara, Mexico; St. Mary’s College Museum of Art, CA; Italian American Museum, D.C; Department of Special Collections, Cecil H. Green Library, Stanford University, CA; Comune di Monasterace, Calabria, IT; among other museum and private collections.  


Motetti: Flowers Grow/ Salty Breath, 2024, oil-based paint, pigment, walnut and black ink, graphite, oil pencils,on paper, 42.5 x 35 in (107.95 x 88.9 cm), Image by Martin Seck

Bundles: Seacoasts / Among Fragrances / Winds / Decoy, 2024, oil-based paint, pigment, string, lace, fishing lures, and bone on canvas panel, 8 x 5 x 2 in (20.3 x 12.7 x 5.1 cm), Image by Martin Seck

The Clouds Travel like White Handkerchiefs of Goodbye, 2020 oil-based pigment, collage, graphite, on mylar 54 x 65 in (137.16 x 165.1 cm) Image by Martin Seck

 

New York-based artist Ethan Cook engages with materialism and minimalism through his two primary media, woven canvas and handmade paper. Cook’s paintings are composed of colored fabric panels that have been hand woven on a four-harness loom, stitched together, and stretched on bars. Foregoing the notion that in order to paint one must apply pigment to canvas in some way – be it by brush, by knife, or by hand – Cook instead uses a loom to weave large swaths of colored fabric that make up his surfaces. For Cook, the performance of artmaking is at once meditative and intensely rhythmic. The grandness of the loom, with its thousands of moving processes and parts, generates a symphony of action that is both quick and unpredictable, developing a variety of idiosyncrasies like a pulled thread or skipped knot, producing a variety of textures that reveal that the works are indeed, handmade.
Cook has had solo exhibitions at Nino Mier Gallery, Los Angeles, Brussels, Marfa and New York; Megan Mulrooney Gallery, Los Angeles; Half Gallery, New York; Andersen’s Contemporary, Copenhagen; Galerie Philipp Zollinger, Zurich; T293, Rome; Loyal Gallery, Stockholm; Anat Ebgi, Los Angeles; Noire Chapel, Torino; Bill Brady, Miami; Sunday-S Gallery, Copenhagen; American Contemporary, New York; Galerie Jeanroch Dard, Paris; Rod Barton, London; Patrick de Brock Gallery, Knokke; and Gana Art Hannam, Seoul.  Public collections include The Art Institute of Chicago, Museum Voorlinden, Jordan Schnitzer Museum of Art, Fondation CAB, and Juan Carlos Maldonado Art Collection. His work has been covered in the Los Angeles Times, the New York Times, the Brooklyn Rail, Interview Magazine, Architectural Digest, among other publications.


Ethan Cook, Battement, 2025 Signed and dated on verso Hand-woven cotton 45 x 55 in (framed)

Ethan Cook, Sauter, 2025, Signed and dated on verso, Hand-woven cotton, 66 x 77 in (framed)

Ethan Cook, Beam Bathing Broken Circle, 2025 Steel 80 x 48 x 12 in 203.2 x 121.9 x 30.5 cm

Within her work, Catalina Chervin (b. 1953, Argentina) depicts what the human mind intuits rather than what the eyes see—replacing empirical knowledge with subconscious feeling.

Chervin studied at the Escuela Nacional Superior Ernesto de la Cárcova in Buenos Aires and worked with the Robert Blackburn Printmaking Workshop in New York City.

Her work is held in prominent institutions worldwide, including The Metropolitan Museum of Art, New York; The Brooklyn Museum, New York; the New York Public Library; El Museo del Barrio, New York; the Art Museum of the Americas, Washington, DC; the Blanton Museum of Art (University of Texas), Austin; the Victoria & Albert Museum, London; The British Museum, London; and the Albertina Museum, Vienna.

Catalina Chervin Untitled, 2004 Hard and soft ground etching with spite bite aquatint, printed on Somerset White paper Master Printer: Lothar Osterburg, New York, 2004 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Artist proof edition of 5

Catalina Chervin Song 3, 2010 Hard ground and soft ground etching with dry point, printed on Rives De Lin with Kozo chine collé Master printer: Lothar Osterburg, New York, 2010 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Edition of 20

Catalina Chervin, IT 1, 2015, Hard and soft ground etching, printed on Somerset Textured White paper, Master Printer: Lothar Osterburg, New York, 2015, Image size: 15 x 11 in (38.1 x 27.9 cm), Sheet size: 21 x 16 in (53.3 x 40.6 cm), Edition of 20

Mark Mulroney was born in Redondo Beach when he was very young. He spent a lot of time alone in his room on restriction due to his poor behavior. While in his room, alone, he started to draw, mostly pictures of the Space Shuttle and Vikings. He liked being alone in his room so much that he decided to try and make a career out of it. He is now 52, living in Connecticut, and spending almost all of his time in a room, by himself, drawing.

When not in his room he enjoys talking to his wife about how he doesn't want to go on hikes

The End.



Mark Mulroney, What Black Hole?, 2025 Oil on Canvas 74 x 92 inches 188 x 233.7 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo.




Mark Mulroney Kal-El, 2025 Ink on Paper 71 x 46 inches 180.3 x 116.8 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo.




Mark Mulroney Clark 2, 2025 Oil on Panel with Gum 29 x 22 inches 73.7 x 55.9 cm, Courtesy of the artist and Mrs., Queens | Photography by GC Photo

Michele Abramowitz (USA, b. 1984, Berkeley, California) received her BA from Pomona College (Claremont, CA), her BFA from the Rhode Island School of Design (Providence, RI), and her MFA from the Milton-Avery School of the Arts at Bard College, (Annandale-on-Hudson, New York). Abramowitz has held solo exhibitions at A.I.R. Gallery, Brooklyn, NY (2021) and Kate Werble Gallery, New York, NY (2022).

Her work has been exhibited at venues including the North Loop Gallery, Williamstown, MA (2022), UBS Gallery at Bard College, Red Hook, NY (2016), Falcon's Nest, Los Angeles, CA (2016) and Hart Street Studio, Brooklyn NY (2011). She currently lives and works in Brooklyn, NY.

Michele Abramowitz, Ghost Crickets 2025 Oil and black gesso on polyester canvas 80 x 54 inches each panel; 80 x 178 inches total.  Courtesy of the artist and Kate Werble Gallery, New York

Michele Abramowitz, Detail, Ghost Crickets 2025 Oil and black gesso on polyester canvas 80 x 54 inches each panel; 80 x 178 inches total. Courtesy of the artist and Kate Werble Gallery, New York

Michele Abramowitz, The Living Mud, 2025 Oil and black gesso on polyester canvas 48 x 40 inches Courtesy of the artist and Kate Werble Gallery, New York

Michele Abramowitz, The Unworthy Augustina, 2025 Oil and black gesso on polyester canvas 54 x 40 inches.  Courtesy of the artist and Kate Werble Gallery, New York.

Z.T. Nguyen (b. 1997, United States) is an artist currently based in New Haven, CT.

He has exhibited at Klaus von Nichtssagend, New York; Asia Art Archive in America, Brooklyn; the RISD Museum, Providence; NARS Foundation, Brooklyn; and the Vincom Center for Contemporary Art, Hà Nội, among others. He has participated in residencies and fellowships at the Textile Arts Center, Brooklyn; The Alternative Art School & MAIIAM Contemporary Art Museum, online; and Asia Art Archive in America. Nguyen received his BFA in Painting from the Rhode Island School of Design (2019) and is currently on the cusp of receiving an MFA in Painting & Printmaking at the Yale School of Art (2025).


Facts Are Bigger in the Dark Year: 2025 23.5 x 36 x 6 Squid ink, graphite, colored pencil, and acrylic on letter-sized sheet of paper; found chair




Hold Me 2024 Acrylic and graphite on letter-sized sheets of paper 32.125 x 40 inches




Infinity 2024 16 x 10.4 inches Acrylic and graphite on letter-sized sheets of paper




Obey 2025 Acrylic and graphite on paper 10.9 x 8.5 inches

courtesy of Ruiz-Healy Art, New York / San Antonio
Nicolás Leiva is renowned for his exuberant sculptures and paintings that capture various expressive personal visions. Vessels, boats, abstract forms, flying carriages are transformed into ceramics in an explosion of lush primary colors embossed with metals like silver and gold. Animals and vegetables commingle in a garden of flowers amidst otherworldly places of shelter, are replicated as box-like reliquaries, and plate-like medallions in miniature close-up show territories transitioned from his works on paper. His imaginative world unfolds in infinite realms like a Möbius strip. Highly gestural, organic, or geometric, Leiva presents a host of archetypes in his emblems of flight, safety, and delight.
Born in 1958 in Tucumán, Argentina, Leiva graduated from the Fine Arts School of the Universidad Nacional de Tucumán. He continued his studies in Buenos Aires and moved to Miami in 1990. In 1996, he extended his practice to sculpture and ceramics. He lives part-time in Faenza, Italy, where he works with a variety of materials at the workshops of Ceramica Gatti. His work is the subject of the 2005 monograph Nicolas Leiva: The Fire of Self and Multiplication with scholarly text by Ricardo Pau-Llosa and Mariza Vescovo published by Bandecchi & Vivaldi in Italy. He has had many important solo and group exhibitions in the US and internationally, notably his 2023 solo exhibition, Historia de un día, Museo de Bellas Artes Laureano Brizuela, Catamarca, Argentina. Leiva was recently selected for the 2023 Miami Individual Artist (MIA) Grant, Miami-Dade County Department of Cultural Affairs in Miami, FL. His works are in the permanent collections of the Museo de Arte Latinoamericano de Buenos Aires (MALBA); The Snite Museum of Art at the University of Notre Dame, Indiana; the Berardo Collection in Lisbon, Portugal; the Gollinelli Collection in Bologna, Italy; and the Museum of Art of Fort Lauderdale in Florida. The Civic Museum of Marble, Carrara, Italy; Museo Maria Zambrano, Malaga, Spain; José Luis Cuevas Museum, Mexico City, México; Museum of Latin American Art, Long Beach, CA; and Fundación Federico García Lorca, Madrid, Spain.


Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio.

Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio.

Nicolás Leiva, Sea Flora, 2024 Signed and dated on the underside Majolica ceramic with gold 35 x 15 x 15 in. courtesy of Ruiz-Healy Art, New York / San Antonio.

Nicolás Leiva, Arbol de los Sueños (Tree of Dreams), 2017 Signed and dated on the underside Majolica ceramic with gold and lustrous Ceramica Gatti, Italy 30 in diameter. courtesy of Ruiz-Healy Art, New York / San Antonio.

Duane Michals (b. 1932, McKeesport, PA) is one of the great photographic innovators of the last century, widely known for his work with series, multiple exposures, and text.
Michals first made significant, creative strides in the field of photography during the 1960s. In an era heavily influenced by photojournalism, Michals manipulated the medium to communicate narratives. The sequences, for which he is widely known, appropriate cinema’s frame-by-frame format. Michals has also incorporated text as a key component in his works. Rather than serving a didactic or explanatory function, his handwritten text adds another dimension to the images’ meaning and gives voice to Michals’ singular musings, which are poetic, tragic, and humorous, often all at once.

 



 










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