Catalogue
April 17-19, 2026
ARTIO GALLERY
"Interconnecting lines”
April 17-19, 2026
Alexander Hirtl
Anamarija Matić
Aurore Monteil
Austen Brantley
Bianca Pirlog
Carlos Abraham
Chiya Clika
Cristóbal Corbeaux
Desiree Griffith
Dirk Verschueren
Hervé Teboul
Isabel Breininger
Ivana Gagić Kičinbači
Jaime Cuadrench Berlinger
Karin Sonesson
Konul Kazimova
Kosho Kinoshita
L. Renee Williams
Lene Birch Vestergaard
Nasim Parsa
Natalya Raduenz
Paulina Sanchez
Zhihong
AUSTEN BRANTLEY
Austen Brantley's Mountain is a sculpture of extraordinary conceptual and emotional depth. A monumental bronze head — serene in profile, its surface rich with green patina — becomes the foundation for something even larger: two small figures perched atop it, a man and a woman, intimate and exposed against the air. The idea is simple and profound: that inside every person ' s mind lives a whole world, populated by those they love, those they carry, those they cannot put down. Brantley executes this vision with great technical skill and great humanity, and the result is a work that stays with you like a thought you can't quite shake.
AUSTEN BRANTLEY
ARTIO GALLERY
Mountain Bronze
80 x 40 x 40cm
ALEX OF ARTEXINIA
Alex of Artexinia's two soapstone sculptures are small in size but enormous in character. Both present expressive, mask-like faces carved with a directness and energy that feels at once ancient recalling pre-Columbian or African sculptural traditions and completely contemporary. The creamy pale stone of Twenty Twenty Sixex / Personality Coachex gives its grinning, wide-eyed face an almost luminous quality, while the darker, mottled surface of Nonosexa lends its features a brooding intensity. Together they feel like two sides of a personality one open and exuberant, one watchful and knowing — and both are irresistible.
ALEX OF ARTEXINIA
TWENTYTWENTYSIXEX/ PERSONALITYCOACHEX
Soapstone sculpture 14 x 10cm
NONOSEXA
Soapstone sculpture 7,5 x 6cm
ARTIO GALLERY
ANAMARIJA MATIC
Anamarija Matic's Fragments in Motion is a painting of real authority. Against a ground of black and white — bold, gestural, physically applied — two blocks of deep cobalt blue anchor the composition with calm precision, while a single yellow line curves through the whole thing like a thought mid-flight. The contrast between the raw energy of the brushwork and the cool geometry of the blue passages creates a wonderful tension, and the result is a painting that feels both spontaneous and completely considered. This is abstract painting working at full power.
ANAMARIJA MATIC / ANAMARIA MBF DESIGN
FragmentsinMotion
Acrylic on canvas
100 x 100cm
ARTIO GALLERY
AURORE MONTEIL
Aurore Monteil's two Nebula works are among the most materially extraordinary in the exhibition. Each is built on glazed ceramic tiles — painted with oxide, rutile, mica, glass frit, and crushed ceramics and set within an oak frame finished in Napoleon III black varnish, the whole thing sealed with an engraved metal plaque. The result is a surface that seems to generate its own light: deep cobalt and violet fields from which gold and silver rays burst outward like a star exploding. Nebula 0.1 spreads across nine tiles in a glorious square, while Nebula 0.2 elongates the same energy into a tall, narrow column — two versions of the same magnificent cosmic event, each entirely itself.
AURORE MONTEIL - 4A STUDIO
Nebula0.1
oxyde painting, rutile, mica, glass frit, and crushed ceramics, on glazed ceramic tiles. Frame crafted in oak with a Napoleon III black varnish and an engraved metal plaque
68 x 53cm
ARTIO GALLERY
AURORE MONTEIL - 4A STUDIO
Nebula0.2
oxyde painting, rutile, mica, glass frit, and crushed ceramics, on glazed ceramic tiles. Frame crafted in oak with a Napoleon III black varnish and an engraved metal plaque 68 x 23cm
ARTIO GALLERY
BIANCA PIRLOG
Bianca Pirlog’s The Pact unfolds as a quiet meditation on duality, where fragility and instinct exist in a state of intimate equilibrium. The central figure, withdrawn and introspective, bears a surface marked by delicate fractures, traces not of damage, but of lived experience and temporal accumulation. These fissures, gently illuminated with gold, transform rupture into continuity, suggesting a poetics of resilience grounded in acceptance rather than resistance.
Accompanied by the watchful presence of the leopard, a symbol of latent strength and silent protection, the composition evokes an unspoken alliance between softness and vigilance. Butterflies drift across the scene as fleeting markers of transience, reinforcing the ephemeral nature of emotional states. Drawing on a contemplative visual language informed by both Western and Eastern sensibilities, Pirlog constructs a space where vulnerability is not opposed to power, but becomes its quiet counterpart.
BIANCA PIRLOG
ThePact
Oil paint, mixed media, ink, acrylic, diamond dust, and gold leaf on velvet canvas. 90 x 100cm
ARTIO GALLERY
CHIYA CLIKA
Chiya Clika's Cave 001 is a painting that collapses time in the most wonderful way. Against a warm, pale ground, primitive figures, animals, and pixelated emoji-like forms sit alongside one another as naturally as if they had always belonged together cave painting and digital culture meeting on the same wall, separated by thousands of years and no distance at all. Clika layers oil, oil stick, acrylic, and polymer to build a surface that feels genuinely ancient and genuinely now, and the result is a work that makes you laugh and makes you think in equal measure. Humanity has always drawn on walls. Some things never change.
CHIYA CLIKA
Oil, Oil Stick, Acrylic, Polymer, Canvas
40 x 30cm
ARTIO GALLERY
Cave001
CRISTÓBAL CORBEAUX
Cristóbal Corbeaux's sculpture is a study in the tenderness of two people finding each other. Two figures, slender, textured, their surfaces alive with the marks of making, stand pressed together in an embrace, the taller leaning in toward the smaller, both of them completely absorbed in the moment. The bronze-like finish gives the work a warmth and weight that suits its subject perfectly, and the simplicity of the composition — no props, no setting, just two bodies and the space between them closing makes it quietly devastating. This is a sculpture about love, rendered with great skill and great feeling.
CRISTÓBAL CORBEAUX
Metal, resin and quartz on an iron base
80 x 25 x 25cm
ARTIO GALLERY
Jackpot
CARLOS ABRAHAM
In this striking monochrome composition, Carlos Abraham orchestrates a powerful dialogue between the human body, animal presence, and the vast, elemental landscape. The nude figure, rendered with quiet dignity, confronts the monumental presence of the horse, an enduring symbol of strength, control, and cultural heritage. Set beneath a dramatic, storm-laden sky, the scene unfolds as a meditation on vulnerability and power, instinct and domestication. Abraham’s lens transforms the body into both subject and symbol, revealing a raw, timeless beauty that transcends identity and geography.
Carlos Abraham is a Lebanese–Mexican artist trained in architecture and photography, whose work focuses on examining and highlighting the beauty of the human body. His work has appeared in various publications and has been exhibited internationally, including in Mexico, Barcelona, and Buenos Aires. His artworks are part of the permanent collection of the Mediateca INAH in Mexico.
CARLOS ABRAHAM
80 x 80 cm
CaballoDavid
Photography
DESIREE GRIFFITH
Desiree Griffith returns with Visceral, a work that once again demonstrates her remarkable ability to make materials do emotional work. Here, bismuth and quartz are set in epoxy resin on canvas, forming a jagged, silvery oval like a wound, or a mirror, or a cell that sits in a field of translucent pale ground with a strange, hovering presence. A small red accent in the lower corner pulses like a heartbeat. The title is exactly right: this is a work that bypasses the mind and goes straight to the body, to something felt rather than understood. Compelling, unsettling, and beautiful all at once.
DESIREE GRIFFIT
Visceral
bismuth + quartz + epoxy resin on canvas
31 x 31cm
DIRK VERSCHUEREN
Dirk Verschueren's Pepe is a portrait painted with the kind of quiet affection and technical mastery that makes you feel you know the subject, even if you have never met him. An elderly man in profile flat cap, red collar, face deeply lined and full of lived experience is rendered in warm ochres and soft browns against a dark ground, the brushwork sure and unhurried. Verschueren has clearly looked at this face with great care, and that care shows in every mark. It is the kind of portrait that the great Dutch masters made human, honest, and completely dignified.
DIRK VERSCHUEREN
ARTIO GALLERY
Pepe Oil on canvas 44 x 54cm
HERVÉ TEBOUL
Hervé Teboul brings his signature touch to the still life with two large, luminous works that transform the humblest of subjects — a pear, an apple — into objects of genuine splendour. Rondeurs Dorées sets a golden pear against a lush, loosely painted green ground, the fruit rendered in gold leaf that catches and holds the light with extraordinary warmth. Rouge Délice counters with an apple blazing in gold against a field of deep, vibrant red — bold, joyful, and completely alive. Teboul takes the centuries-old tradition of fruit painting and gives it back to us entirely renewed, gleaming and irresistible.
HERVÉ TEBOUL
Rondeursdorées
Acrylic, gold leaf and epoxy
92 x 122cm
ARTIO GALLERY
HERVÉ TEBOUL
Rougedélice
Acrylic, gold leaf and epoxy
92 x 92cm
ARTIO GALLERY
VANDART STUDIO
Vandart Studio returns with a work of an entirely different register from their butterfly series — and it is just as accomplished. Unfold is a winter landscape of quiet, almost aching beauty: bare trees dusted with snow, a narrow stream threading through a white field, distant mountains fading into a pale blue sky. The painting has the warmth and intimacy of a memory, the kind of scene you carry with you long after you ' ve left it behind. Vandart paints with a delicate, assured hand, and the light in this work golden and cool at once is simply wonderful.
VAND
Unfold(dipty
Acrylic on ca
80 x 80cm
NATALYA RADÜNZ
Natalya Radünz's Exodus is a diptych of striking graphic power. Two trees — one dark against a light ground, one white against dark — grow from the same root system across the divide between the panels, their branches reaching in opposite directions, their forms built up in relief so that the surface has a real physical presence. The image is at once simple and deeply resonant: separation and connection, shadow and light, the same life expressed in two entirely different ways. Radünz makes a work that is visually bold and emotionally intelligent in equal measure.
NATALYA RADÜNZ
Exodus(Diptych)
Acrylic, Mixed Media on canvas
100 x 30cm
ARTIO GALLERY
ISABEL BREININGER
Isabel Breininger's two paintings announce an artist completely at home with colour and gesture. Working in what appears to be oil, she builds her floral compositions through bold, confident strokes petals and leaves suggested rather than described, the paint applied with a directness and physicality that makes each mark count. The palette is glorious: deep navy and forest green anchoring explosions of pink, mauve, mustard, and warm white, the whole thing hovering beautifully between abstraction and recognition. You know these are flowers, but more than that you know how they feel — abundant, generous, alive with a kind of uncontainable energy. Breininger paints with real freedom, and the results are simply wonderful to be in the presence of.
ISABEL BREININGER
Unfold(diptych)
Acrylic on Canvas
80 x 80cm
ISABEL BREININGER
Unfold(diptych)
Acrylic on Canvas
80 x 80cm
IVANA GAGIC KICINBACI
Ivana Gagic Kicinbaci's Threshold is a photograph that exists somewhere between this world and another. A luminous white form — spiralling, weightless, like a breath or a ghost — floats through a darkened, layered landscape of teal and grey, the ground below it scored with delicate lines, the atmosphere around it dense and dreamlike. Printed as a limited edition of three on Hahnemühle Photo Rag Satin, the image has a velvety depth that suits its subject perfectly. This is a work about the moment before crossing over whatever that means to you and it is hauntingly beautiful.
IVANA GAGIC KICINBACI
Threshold
Digital Print on Hahnemühle
Photo Rag Satin Paper, limited edition of 3
80 x 80cm
ARTIO GALLERY
JAIME CUADRENCH BERLINGER
Jaime Cuadrench Berlinger's two works arrive with tremendous energy and playfulness. Distorsion fills its canvas with warm pinks and peaches, rounded forms overlaid with dotted patterns jostling and merging in a composition that feels both organic and slightly hallucinatory like looking at something familiar through distorted glass. Eco del Mañana shifts the register to cool lavender and violet, dark vertical strokes raining down through a field scattered with dashes of yellow and teal, the whole thing alive with movement and sound. Both works are painted with real freedom and a wonderful sense of colour, and together they make for an irresistible pairing.
JAIME CUADRENCH BERLINGER
Distorsion
Mixed Technique
100 x 100cm
ARTIO GALLERY
JAIME CUADRENCH BERLINGER
EcodelMañana
Mixed Technique
100 x 100cm
ARTIO GALLERY
KARIN SONESSON
Karin Sonesson's Waves is a work that makes you want to reach out and touch it. Modelling compound has been applied to canvas in great sweeping gestures — broad, curved ridges that catch the light and cast soft shadows across the surface, creating a texture that is simultaneously monumental and delicate. There is no colour here, only form and light and the memory of movement — and it is completely, quietly extraordinary. Sonesson has made a painting about the sea without showing the sea at all, and in doing so has captured something essential about it: its rhythm, its scale, its irresistible pull.
KARIN SONESSON
Waves
Modeling compound
80 x 120cm
ARTIO GALLERY
KONUL
Konul's two oil paintings are a genuine pleasure generous, luminous, and painted with real joy. The Way of Light gives us a rolling landscape in full summer colour, greens and golds cascading down hillsides toward a glittering body of water, the sky above billowing with white clouds. Sunny Dux turns the same warm attention to a group of white geese gathered at the water's edge, their plumage rendered with a softness and care that makes them feel utterly alive. Konul paints the world as a place worth celebrating, and it is hard to look at either of these works without feeling lifted.
KONUL
ARTIO GALLERY
TheWayofLight
Oil paint on canvas
70 x 50cm
SunnyDux
Oil paint on canvas
70 x 50cm
KOSHO
Kosho's two works announce a painter deeply in love with geometry, colour, and the energy that happens when both are pushed to their limits. Encounter 1 is a riot of primary shapes — red, white, blue, and gold set against a deep cobalt ground that hums with intensity, the composition dynamic and full of movement. Composition XIII takes a softer, more atmospheric approach, circles and curves drifting through fields of violet, teal, and pale gold like planets in a luminous universe. Kosho works confidently in the tradition of geometric abstraction while making it feel entirely fresh, and both paintings reward long, close looking.
KOSHO
COMPOSITIONXIII
Encounter1
Acrylic on canvas
91 x 91cm
Mixed media on canvas(Acrylic×Oil)
91 x 91cm
L. RENEE WILLIAMS
L. Renee Williams' The Liminal Hour is a painting steeped in atmosphere and meaning. At its centre, an ornate golden clock — its hands raised, its face intricate and glowing — is enveloped in a swirl of dust and dark matter, while black vinelike tendrils reach outward across the canvas like time itself unravelling. The ground shifts from deep black on one side to warm, textured white on the other, and the effect is one of extraordinary drama and tenderness. This is a painting about the moments between things between night and day, between what was and what comes next and it glows.
L. RENEE WILLIAMS
TheLiminalHour
Acrylic, gesso, heavy body texture on canvas
76 x 76cm
ARTIO GALLERY
LENE BIRCH VESTERGAARD
Lene Birch Vestergaard is a self-taught artist with over three decades of experience as an art educator. Her practice is deeply rooted in a dialogue with nature, drawing inspiration from both cultivated and untamed landscapes. Her garden, which she has shaped over nearly three decades, becomes an extension of her artistic process—an evolving canvas where form, color, and rhythm unfold organically.
Influenced by the dramatic terrains of Iceland and the Faroe Islands, her work reflects the raw beauty and emotional intensity of Nordic nature. Water, as a vital and ever-changing element, often emerges as a central motif, embodying movement, depth, and transformation. Through expressive abstraction, Vestergaard captures the tension between strength and fragility, inviting the viewer into a space where nature and emotion converge.
LENE BIRCH VESTERGAARD
Seaofcolors
Acrylic on canvas
60 x 60cm
ARTIO GALLERY
LENE BIRCH VESTERGAARD
NatureElements
Acrylic on canvas
60 x 60cm
ARTIO GALLERY
PAULINA SANCHEZ
Paulina Sanchez's two large acrylic works share a language of fluid geology — of stone and water and the slow, patient movement of natural forces. Release Me fills its tall canvas with a surface that looks like tidal flats seen from above, rivulets of grey and sand branching outward from a central surge, dark pools gathering in the hollows. A New Dawn offers a quieter counterpart: soft veils of cream, taupe, and pale blue drift and layer like mist over marble, the whole surface luminous and still. Both works have the quality of something vast made intimate, and together they feel like breathing in and breathing out.
PAULINA SANCHEZ
152 x 91cm
ARTIO GALLERY
ReleaseMe
Acrylic on Canvas
PAULINA SANCHEZ
ANewDawn
152 x 91cm
ARTIO GALLERY
Acrylic on Canvas
AURORA ROSE DECROSTA
Aurora Rose DeCrosta's Red is the Colour is a photograph of extraordinary atmosphere and poise. A young woman in a red sequined dress stands in profile amid a blur of colour and light other figures, glittering fabric, green and gold bokeh dissolving around her her expression inward, self-contained, entirely her own. DeCrosta captures the paradox of being both surrounded and alone, of being the most vivid thing in a vivid room and still somehow elsewhere. The composition is instinctive and sure, the colour rich and warm, and the result is a portrait that feels like a moment held perfectly still.
AURORA ROSE DECROSTA
RedistheColour
Photography / Digital Print
52 x 60 cm
ARTIO GALLERY
ARTIO GALLERY
DIGITAL EXHIBITION
Catalogue
April 17-19, 2026
ARTIO GALLERY
DIGITAL EXHIBITION
"Interconnecting lines”
April 17-19, 2026
Antonio Rana
Alba Domenech
Anna Chmielowska
Crina F. Paun
Dina El-Sioufi
Imre Hasanic
Isabel Arocena
Inigo Arte
Justine Giordano
Kathy Miller
Lea Karvala
Marvel A Maring
Przemysław Olczak
Paula Jaszczyk
Rand Alkishtaini
Rebecca Antoniou
Susana Mazzarino
Tajana Sesar
Thiago Marques
Yuya Chujo
Yume Inagaki
Zacharias Daniilakis
ANTONIO RANA
Antonio Rana's La Cappelliera is a photograph that finds poetry in the everyday. A hat stand crowded with dark caps and hats rises in silhouette against the soft, bokeh-blurred light of a narrow street, the scene rendered in rich black and white that gives it the timeless quality of a film still. There is something gently comic and something deeply human about it — all those hats waiting, all those lives implied — and Rana composes it with a quiet confidence and a sure eye for the moment when the ordinary becomes something worth stopping for.
ANTONIO RANA
35 x 26cm
Lacappelliera Photography
ALBA DOMENECH
Alba’s artistic universe draws from surrealism and Japanese aesthetics, unfolding a dreamlike and symbolic visual language centered on the feminine experience. Through intimate and evocative compositions, her work explores themes of sensuality, societal expectations, and an ongoing search for connection with the subconscious.
A recurring motif within her practice is the butterfly, embodying fragility, transformation, and inner guidance—at once vulnerable and resilient. Her distinctive approach lies in a hybrid technique that merges digital drawing with traditional painting, dissolving the boundaries between mediums. This fusion results in atmospheric works charged with subtle tension, where the poetic and the introspective converge.
ALBA DOMENECH
Mixed Media
200 x 130cm
LapequeñaSamurai
INIGO ARTE
Inigo Arte's Icono Virgen de Guadalupe is a work that shimmers with devotion and craft. The Virgin is set at the centre of an intricate field of embossed metal, surrounded by golden ornaments, jewelled brooches, sacred hearts, and gleaming green stones every element placed with the care of an offering. It is part altarpiece, part jewellery box, part love letter to a tradition, and the effect is genuinely overwhelming. This is an object that carries the weight of faith and the pleasure of beauty in equal measure, and it rewards every moment of close attention.
INIGO ARTE
34 x 29cm
ISABEL AROCENA
Isabel Arocena's Vega is a sculpture of raw, quietly thrilling power. A female torso — armless, headless, the body twisting upward as though reaching for something just out of reach — is rendered in bronze and resin with a surface that is rough and alive, deep green-black and flecked with warmth. It is the kind of work that makes you want to walk around it, to see how the form changes with each angle, how the light catches the texture differently at every turn. Arocena has made something ancient-feeling and completely present at the same time a body caught between earth and sky, full of restless, beautiful energy.
ISABEL AROC
Vega Bronze and resin
42 x 27cm
JUSTINE GIORDANO
Justine Giordano's Crashing Waves of Thought is a painting that gets the sea exactly right — not its appearance, but its feeling. Layers of impastoed blue and white build wave upon wave across the canvas, each one thick and physical, the paint applied with the same kind of relentless momentum as the water it describes. The palette is cool and clean, all deep navy and pale sky blue and white foam, and the whole surface hums with movement. This is a painting about the way thoughts arrive in surges, one after another, unstoppable and strangely beautiful.
JUSTINE GIORDANO
Crashingwaves
50 x 50cm
Acrylic on canva
LEA KARVALA
Lea Karvala's Drops of Joy is an exuberant, sun-drenched canvas that feels like a celebration. A warm golden ground is animated by splashes and drips of yellow, violet, and red that scatter across the surface like confetti or wildflowers joyful, spontaneous, and completely alive. Karvala layers her marks with real generosity, building a surface full of incident and warmth, and the result is a painting that is simply wonderful to spend time with. It asks nothing of you except to enjoy it, and on that count it succeeds magnificently.
LEA KARVALA
Dropsofjoy
80 x 80cm
Acrylic on canvas
ARTIO GALLERY
MARVEL A MARING
Marvel A Maring's Octobre 2025 is a collage of tremendous visual energy, strips and fragments of paper in black, red, yellow, pink, and green layered and interlocked into a composition that buzzes with movement and colour. The transition from the monochrome charcoal passages on the left to the vivid, almost carnival brightness on the right feels like watching the world shift from shadow into light — or from one month, one mood, into something altogether more alive. Maring works with great confidence and a wonderful eye for rhythm, and the result is a small work that contains a remarkable amount of world.
MARVEL A MARING
Octobre2025
Mixed-media Collag
20 x 20cm
ARTIO GALLERY
REBECCA ANTONIOU
Rebecca Antoniou's I'm Still Here Black Cube II is one of the most quietly startling works in the exhibition. A wooden cube — each face painted in oil with fragments of a nude figure, skin warmly lit against deep shadow sits in space so that no single viewing angle gives you the whole picture. You have to move around it, piece the body together yourself, and in doing so become part of the work. It is a painting about presence and about being seen, and the title — I'm still here — gives it an urgency and tenderness that stays with you long after you ' ve walked away.
REBECCA ANTO
YUME
Yume's Want it All is bold, sensuous, and completely unapologetic. A mouth — lips parted, a strawberry and cream resting on the tongue — fills the frame in close-up, rendered digitally with the lush, almost edible quality of a painting. There is something playful and something provocative about it in equal measure: desire made literal, appetite made beautiful. Yume works with real technical skill and a sharp sense of humour, and the result is an image that is impossible to walk past without stopping which is, of course, exactly the point.
YUME
WantitAll
Digital / 51 x 36cm
ARTIO GALLERY
YUYA CHUJO
Yuya Chujo's Babel / Tower of Life is a work with genuine presence. A tall, jet-black obelisk rises through the centre of the canvas against a pale, softly textured ground — ancient and monolithic, a form that speaks of human ambition, of reaching upward, of the stories we tell about why we build. LED light glows around the edges of the frame, giving the whole work a luminous, almost sacred quality. It is a large, commanding piece that invites you to stand before it and think about height, about aspiration, about what we leave behind.
YUYA CHUJO
Babel/TowerofLife
Mixedmedia
180 x 89cm
ARTIO GALLERY
ANNA CHMIELOWSKA
Anna Chmielowska's Father is a portrait of extraordinary tenderness and technical mastery. Rendered entirely in ink through painstaking stippling and hatching, the face of an elderly man in profile emerges from the darkness with astonishing detail every line and fold of aged skin, every wisp of white hair, recorded with a patience and love that is palpable in every mark. This is a drawing that takes your breath away not just for its skill, but for what it clearly meant to make: a act of looking at someone beloved, slowly, carefully, for a very long time.
ANNA CHMIELOWSKA
Father Ink 29 x 21cm
IMRE HASANIC
Imre Hasanic's Venetian in Alexandria is full of theatrical delight. Two elongated, angular figures — painted in the Cubist-inflected language of carnival and commedia dell'arte occupy a hazy, atmospheric ground of grey and gold, their geometric faces and costumed bodies suggesting a story that is never quite told. The taller figure stands with a slightly imperious air; the smaller one watches, curious and a little wary. Hasanic paints with great wit and a loose, confident hand, and the result is a painting that is as entertaining as it is intelligent one that makes you want to know what happens next.
IMRE HASANIC
Oil on canvas
120 x 100cm
VenetianinAlexandria
ARTIO GALLERY
DINA EL-SIOUFI
Dina El-Sioufi's The Never-Ending Satyricon is a painting that burns. A volcanic landscape blazes crimson and red behind two figures rendered with raw, urgent brushwork, while fragments of handwritten text in English, in French drift across the surface like half-remembered words. El-Sioufi paints with the directness of someone who has something urgent to say, and the scale and colour of the work — all that red, that heat, that sky — gives it a mythic, almost operatic quality. This is painting as testimony, as drama, as a refusal to be quiet.
DINA EL-SIOUFI
TheNever-Ending
ARTIO GALLERY
PAULA JASZCZYK
Paula Jaszczyk's painting carries its title like a truth acknowledged — something steeled for, not feared. Two abstracted figures in muted sage, lavender, and blue move against a warm golden ground, their forms fluid and open, hands reaching or gesturing toward one another with a quality that is both tender and uncertain. Jaszczyk paints with real emotional intelligence, and the work has the feeling of a conversation held at a threshold — a moment of change, bravely faced. It is a painting that speaks quietly but lands deeply.
PAULA JASZCZYK
Itwillbedifferentnow. Itwillbehardernow.
Acrylic on canvas
120 x 120cm
ARTIO GALLERY
PRZEMYSLAW OLCZAK
Przemyslaw Olczak's Memories is a painting of beautiful simplicity and surprising depth. A shoal of fish — painted in a wonderful variety of blues, greens, and flashes of red — swims through the upper half of the canvas above a warm golden shore, where a striped cloth and a dark bottle suggest a moment of rest, of summer, of time suspended. The division between the two worlds — the teeming, colourful underwater world above and the quiet, warm human space below — gives the work a poetic quality that is entirely its own. It is a painting about the way memory pools and drifts, and it is quite lovely.
PRZEMYSLAW OLCZAK
Memories/ Acrylic on canvas / 100 x 70cm
ARTIO GALLERY
RAND ALKISHTAINI
Rand Alkishtaini's Capriccio Wall Lighting transforms the wall itself into something luminous. Mixed media on papyrus paper
— teal, gold, silver, and flashes of red and pink — is set within a solid wood frame from which LED light glows warmly outward, so that the work seems to breathe, to radiate from within. The ancient material of the papyrus and the contemporary use of light create a tension that is wholly satisfying, the old and the new illuminating each other. This is a work that changes with the light around it and that rewards living with as much as looking at.
RAND ALKISHTAINI
"Capriccio"WallLighting
Mix media on papyrus
paper, LED strip light, solid wood
102 x 72cm
SUSANA MAZZARINO
Susana Mazzarino's The Golden Valley is pure luminous joy. Ribbons of pink, orange, gold, and white flow across the digital canvas in soft, flame-like waves, the colours building toward a blazing centre of almost blinding warmth. It has the quality of light seen through silk, or heat shimmering above summer ground — something elemental and sensuous and completely beautiful. Mazzarino works with real mastery of colour and movement, and the result is a work that fills whatever space it occupies with warmth and radiance. It is, simply, a delight.
SUSANA MAZZARINO
TheGoldenValley
TAJANA VANOVAC SESAR
Tajana Vanovac Sesar's Of Silence occupies a fascinating space between jewellery and sculpture, between the functional and the purely expressive. Two silver bracelets have been transformed into something altogether stranger and more beautiful their forms swelling into seed-pod shapes, traced with rows of tiny dots, mounted on rough, branch-like handles that feel ancient and organic. They look like ritual objects, or instruments from another world. Sesar works with extraordinary delicacy and a wonderful sense of mystery, and these pieces reward the kind of slow, close looking that most objects never ask for.
TAJANA VANOVAC SESAR
Ofsilence Technique, silver bracelet, jewelry sculpture 17 x 14cm
TAJANA VANOVAC SESAR
ZACHARIAS DANIILAKIS
Zacharias Daniilakis's Surma is a portrait of extraordinary presence and quiet dignity. A child's face — painted in oil with remarkable skill and sensitivity — gazes directly outward from beneath a crown of yellow flowers and green leaves, the gaze steady, the expression still and self-possessed. Daniilakis renders skin and foliage with equal care, and the result is a painting that feels both intimate and monumental. This is a work about seeing and being seen — about the particular power of a face that holds your gaze completely and does not look away.
ZACHARIAS DANIILAKIS
Surma Oil on canvas 43 x 35cm
Dear Artists,
Thank you for being a part of Artio Gallery.
We are thrilled to have such talented artists collaborate with us. We're excited for future collaboration and we wish you all the best in your art career!
Gallery Team
Artio