INKA ESSENHIGH
“Inka Essenhigh believes painting is a private matter... [she] spends her studio days drinking coffee and passionately working and reworking her fantastical nature-inspired canvases until her paintings resonate with her intuition. She doesn’t let just about anybody see her work—until it’s finished, that is—and her only visitor is often her husband the painter Steve Mumford, delivering lunch or yet another cup of coffee. Such intimacy is essential; Essenhigh’s ethereal and fantastical landscapes are painted entirely from her imagination, without preparatory drawings or sketches, and Essenhigh must steer clear of outside influence. But when her works are completed, they are luminous.”
- Katie White in Artnet News
INKA ESSENHIGH
Flowering Tree, 2025
Enamel on canvas
54 x 36 inches
137.2 x 91.4 cm
INKA ESSENHIGH
Pink Cabbage, 2025
Enamel on canvas
28 x 32 inches
71.1 x 81.3 cm
BEVERLY FISHMAN
“Beverly Fishman has been thinking about the cure for what ails us for the last 40 years. Her candy-colored constructions exist somewhere between painting, sculpture and bad trip: uppers and downers pulsating in happy, fluorescent hues—a medicine cabinet stocked with remedies for being human... continuing her series of faceted, urethane-shellacked wood forms that protrude from the wall, are a workaround to figuration—about the body but never depicting it, geometric abstraction as a feint to talk about contemporary culture, and what we ingest to cope with it.”
- Max Lakin in The New York Times
BEVERLY FISHMAN
Equilibrium (P.B.10), 2025
45 x 41 5/8 inches
114.3 x 105.7 cm
Urethane paint on wood
BEVERLY FISHMAN
Polypharmacy: Awareness, Protection, Relief, Serenity, Confidence, Calm, Choice, 2025
Urethane paint on wood
72 x 130 inches
182.9 x 330.2 cm
PIA FRIES
“Collaging painting with itself, making use of printing processes, Fries elicits hybrid images whose illusionist passages take up the actual application of paint in stark relief. Here the art of painting is at once identical to and distanced from itself. In the broken temporality of these images, the explosive moment of painterly intervention remains frozen as the stasis of the photographic reproduction.”
– Hans Rudolf Reust in Artforum
boccard, 2025
Oil and silkscreen on wood
66 7/8 x 86 5/8 inches
170 x 220 cm
PIA FRIES
66 7/8 x 86 5/8 inches
170 x 220 cm
PIA FRIES
grace, 2025
Oil and silkscreen on wood
KAREL FUNK
“Sometimes the quiet summer season gives us jolting gifts. That’s Karel Funk. The painter drains the gas out of Ingresstyle neurotic realism, reprograms it, puts it back in, and gives us visual ghosts. We marvel at these epically bland portraits: They’re so perfect that they’re almost dead.”
- Jerry Saltz in New York Magazine
KAREL FUNK
Untitled #117, 2025
Acrylic on panel
20 x 25 1/2 inches
50.8 x 64.8 cm
JACOB HASHIMOTO
“Lightness, immateriality, suspension, a dialectic between reality and artifice, luminosity and transparency: These are all characteristic elements of Hashimoto’s work, seen here in the accumulation of delicate structures, in the multiplication of nearly immaterial grids. Hashimoto’s work is a sort of evocative Minimalism, in the sense that he modulates artificial landscapes that appear to reproduce themselves by themselves, designating horizons of a future that is already present.”
- Francesca Pola in Artforum
72 x 60 x 8 1/4 inches
182.9 x 152.4 x 21 cm
JACOB HASHIMOTO
The Miserable Touch of the Cosmos, 2025
Acrylic, paper, bamboo, wood, and Dacron
The Promise of Other Inventions (that worked better), 2025
Acrylic, paper, bamboo, wood, and Dacron
72 x 60 x 8 1/4 inches
182.9 x 152.4 cm
JACOB HASHIMOTO
JACOB HASHIMOTO
Maybe going back isn’t the right idea, 2025
Acrylic, paper, bamboo, wood, and Dacron
32 x 26 x 8 1/4 inches
81.3 x 66 x 21 cm
JACOB HASHIMOTO
The problem with bubbles, 2025
Acrylic, paper, bamboo, wood, and Dacron
32 x 26 x 8 1/4 inches
81.3 x 66 x 21 cm
FIONA RAE
“At play in the fields of abstraction, British artist Fiona Rae forces us to consider what indeed is abstraction. Could it be a part removed from a whole, or a piece used to construct a form? Can it stand alone? While this might appear to be a simple and overused trope today, it remains a provocative one, sitting at the core of anything we call art, and Rae’s works are truly art about art.”
- Barbara A. MacAdam in The Brooklyn Rail
For there is nothing either good or bad, but thinking makes it so, 2025
Oil and acrylic on linen
60 x 50 inches
152.4 x 127 cm
FIONA RAE
lovely glorious nothing I did see, 2025
60 x 50 inches
152.4 x 127 cm
FIONA RAE
Some
Oil and acrylic on linen
Your shadow at evening rising to meet you, 2025 Oil and acrylic on linen
60 x 50 inches
152.4 x 127 cm
FIONA RAE
Drawing (for there is nothing either good or bad, but thinking makes it so), 2025
Gouache and watercolor on paper
11 7/8 x 9 7/8 inches
30.2 x 25.1 cm
Drawing (some lovely glorious nothing I did see), 2025
Gouache and watercolor on paper
11 7/8 x 9 7/8 inches
30.2 x 25.1 cm
Drawing (your shadow at evening rising to meet you), 2024
Gouache and watercolor on paper
11 7/8 x 9 7/8 inches
30.2 x 25.1 cm
FIONA RAE
FIONA RAE
FIONA RAE
JAMES SIENA
“Executing premeditated compositional directives freehand and using the slick combination of sign painter’s enamel on aluminum, Siena creates jiving geometric patterns whose careful craftsmanship marks them with durational depth and attractive immediacy. While the underlying structures of his compositions afford them a measured integrity, the unruliness of the lines’ behavior makes them come alive.”
- Annie Ochmanek in Artforum
29 Combs, 2007
Enamel on aluminum
19 1/4 x 15 1/8 inches
48.9 x 38.4 cm
Two Scrambled Combs, 2008
Enamel on aluminum
19 1/4 x 15 1/8 inches
48.9 x 38.4 cm
JAMES SIENA
JAMES SIENA
15
19 1/4 x 15 1/8 inches
48.9 x 38.4 cm
JAMES SIENA
Two Switchbacked Loops, 2009
Enamel on aluminum
19 1/4 x
1/8 inches
48.9 x 38.4 cm
JAMES SIENA
Sawtoothed Mediterranean Form (Île du Levant), 2012
Enamel on aluminum
(Anti-Drain), 2012 - 2013
19 1/4 x 15 1/8 inches
48.9 x 38.4 cm
Down Devil Variation (Yellow), 2014 - 2015
19 1/4 x 15 1/8 inches
48.9 x 38.4 cm
JAMES SIENA
Underdog
Enamel on aluminum
JAMES SIENA
Upside
Enamel on aluminum
30 1/4 x 39 3/4 inches
76.8 x 101 cm
JAMES SIENA
Edith Piaf, second version, 2015
Enamel on aluminum
PATRICK WILSON
“If you stop trying to make sense of Wilson’s paintings logically—and let them do their thing—the confusion you initially experience gives way to insights that just might be mind- blowing... Wilson invites us to treat our own experiences in the same way he treats the colors and shapes in his paintings—to understand them differently by paying attention to nuance and letting them change.”
-
David Pagel in Los Angeles Times
PATRICK WILSON
Night Shift, 2025
Acrylic on canvas
59 x 49 inches
149.9 x 124.5 cm
PATRICK WILSON
Smoke Show, 2025
Acrylic on canvas
27 x 21 inches
68.6 x 53.3 cm
Published on the occasion of the exhibition
Booth #B6
5 - 7 December 2025
Miami Beach Convention Center Miami, FL
Miles McEnery Gallery
511 West 22nd Street New York, NY 10011
515 West 22nd Street New York, NY 10011
525 West 22nd Street New York, NY 10011
520 West 21st Street New York, NY 10011
tel +1 212 445 0051 www.milesmcenery.com
Publication © 2025 Miles McEnery Gallery All rights reserved
Catalogue layout by Minu Chng, New York, NY
Photography by Dan Bradica, New York, NY Christopher Burke Studio, New York, NY
Cover: For there is nothing either good or bad, but thinking makes it so (detail), 2025
