ARTIO GALLERY
NEW YORK
“INTERCONNECTING LINES” EXHIBITION
JUNE 3-13, 2026
CATALOGUE
OneArtSpace /23WarrenSt,
NewYork
ARTIO GALLERY
Artists:
NEW YORK
“INTERCONNECTING LINES” EXHIBITION
JUNE 3-13, 2026
ADRI TRENTIN
ALEJANDRA GONZALEZ
ENEXZYA
BIANCA PIRLOG
RITTER VON MAUERN
DAHYUN KIM
DANIELA LAPERA
GRACINHA ARCEO
ISABEL BREININGER
JAIME RIVERA ANDRADE
JIM BLACK
L. RENEE WILLIAMS
LUIZ CARLOS DE SÁ-ROCHA
PILAR MAINOU
MASAYUKI KOSUGE - MASA
MIEKE BAAK
MYLENE COSTA
NADIA HUSTY
NATALI DEUS UNIVERSE
OLGA DAGER
REBECCA ANTONIOU
ISTINTO ARTISTICO
THOMAS TAMAGA-WINER
ZOFIA NIECHWIEDOWICZ
MARGARITA CANTÚ
MYLENE COSTA
Born in Cuiaba, Brazil, Mylene Costa is a sculptor whose work explores matter, time, silence, and permanence. She works in pigmented automotive resin — a material that is both industrial and sensuous — creating forms that feel less like representations of things and more like presences in their own right. Since 2021 she has exhibited widely across Brazil, Europe, and the United States, with recent shows at Red Dot Miami Art Fair, Espacio Gallery in London, and White's Art Gallery in Miami.
The two sculptures presented here form a striking pair. Rubra is a tall, vertical form in deep lacquered red, its surface compressed, folded, and marked by an almost urgent energy. Nebra 1999 works in a cooler grey-green tone, opening outward through a more expanded and suspended structure. While Rubra seems to hold energy under pressure, Nebra 1999 suggests release, movement, and spatial unfolding. Together, the works create a quiet tension between density and expansion, permanence and transformation.
MYLENE COS
Nebra 1999
Details: 55 x 30 cm
Pigmented automotive resin
ADRI TRENTIN
Born in Pelotas, Rio Grande do Sul, Brazil, Adri Trentin makes abstract, intuitive paintings that bring together spirituality, mixed media, and a commitment to sustainability. Her work is not planned in advance — it emerges from gesture, feeling, and an openness to what the materials want to become. She has shown internationally through the YICCA International Contemporary Art Competition, and in recent years has exhibited at Tato Gallery in Brazil and with Artio Gallery in New York.
The two works here belong to her Light in Transit series, and both arrive with real energy and joy. Coded Plot is a dense, vibrant composition of interlocking shapes in sky blue, orange, red, and pink — forms that curve and push against each other like a city seen from above, or music written in colour. Beach Wind is warmer and more open, hot pink filling the canvas as blue and yellow arcs sweep across it with a freedom that genuinely feels like wind moving through light. Both paintings are about colour as something in motion — crossing surfaces, finding its way, always shifting.
ADRI TRENTIN
Work: Coded Plot (Light in Transit Series)
Beach wind
Acrylic and oil on canvas
80 x 80 cm
Acrylic and oil on canvas
SÁ-ROCHA
Sá-Rocha is a Brazilian artist with a practice spanning four decades, from early exhibitions at the University of São Paulo in the 1980s to recent shows in New York, São Paulo, and Paraty. Line is at the heart of everything she does — intricate, flowing, endlessly detailed mark-making that builds into works full of rhythm and energy. She works in series, exploring themes through a distinctive visual language of pattern, movement, and carefully placed colour, with a deep belief that art has the power to spark genuine dialogue and change.
Both works here are made in India ink and metal leaf on Bristol paper. The first is a dense field of vertical flowing lines in black, white, and warm amber — hypnotic and meditative, like wood grain or water seen up close, each stroke slightly different from the last. The second bursts upward like a garden in full bloom or a rush of flames, botanical forms rising in interweaving silver and burnt orange from an intricately patterned base. They are works that reward slow, patient looking — the longer you stay, the more you find.
SÁ-ROCHA
May the flowers of spring bring peace
The Fair Winds of Peace
JIM BLACK
Jim Black graduated with a Bachelor of Fine Arts from Virginia Commonwealth University in 2003 and has been based in Richmond, Virginia ever since. Born in North Carolina, he has exhibited across Virginia, New York, and Europe. His abstract paintings are rooted in modernism but constantly push against it building up multiple layers of oil and wax over time, embedding fragments of text and numbers into heavily worked surfaces, and letting tension and ambiguity drive the work forward.
148001 began with a number that had been quietly following Black around — on the back of art supply palettes for years, then suddenly chalked on a city pavement. It sits scrambled across a richly layered canvas alongside grids and the word OFF in bold uppercase, the surface built up until it feels almost archaeological. Redo is a painting remade several times over — raw canvas ripped, flipped, and stapled across the top half, cone shapes pushing through the texture, the whole process left deliberately visible. Both works wear their history openly, and are all the more compelling for it.
JIM BLACK
Redo
ALEJANDRA GONZÁLEZ
Born in Monterrey, Mexico, and now based in Houston, Texas, Alejandra González is a self-taught artist shaped from childhood by her mother, Mexican muralist María Gaytán — contributing to five of her mother's 65 historical murals. Alongside a career teaching oils, acrylics, and mixed media across studios and schools in Texas, she has built a practice rooted in layered, atmospheric abstraction, exhibiting in Houston, New York, and London.
Both works are built through successive veils of acrylic paint, with soluble charcoal lines drawn over the surface to anchor the composition. Crossroads is warm and luminous — blues, teals, and sandy ochres layered into something that feels like light on water or land seen from above, the charcoal sketching loose geometric forms through it all. Box of Thoughts is cooler and more concentrated, angular shapes tumbling together in a field of teal and green, the marks holding everything in a quiet, shifting balance. Both paintings reward slow looking and leave plenty of room for your own interpretation.
ALEJANDRA GONZALEZ
Box of Thoughts
Acrylic on canvas gallery wrap, soluble charcoal and spray fixative
Crossroads
Acrylic on canvas gallery wrap, soluble charcoal and spray fixative
DAHYUN KIM
Born in Seoul, Korea, Dahyun studied literary creation, philosophy, and film theory before a more urgent calling pulled her toward painting seven years ago — not as a career pivot, but as existential necessity. She has since exhibited widely across Seoul, Jeonju, and Goyang, with international group shows in Paris, Miami and New York City.
Both paintings are built in oils, where the physical encounter between paint, force, and canvas is the starting point rather than composition. Property of a Relationship is deep and immersive, rich blues layered into something that holds weight and memory, the residue of closeness that outlasts a relationship itself. If I Bite You shifts the register: sharper, more charged, sitting in the ambiguous territory between tenderness and aggression. Together they map intimacy in its more complicated forms, not comfort but collision, the kind that marks you. Both paintings carry a quiet intensity that rewards time spent in front of them.
DAHYUN KIM
If I bite you
Property of a relationship
ISABEL BREININGER
Born in Austria, Isabel Breininger is a painter and recipient of the Woman Art Award 2025 whose work moves between abstraction and figurativism, drawing on the Wiener Werkstätte tradition to blur the boundaries between fine art and everyday life. She has exhibited extensively across Austria, the UK, Spain, and Czech Republic, and through her Malsalon practice brings art into direct contact with domestic and social space.
Nocturnal Bloom is a diptych in acrylic on canvas, two panels that together conjure a garden seen not by daylight but from within it, at night, from below. Against a deep, near-black ground, flowers and foliage surge upward in teal, cobalt, acid yellow, and soft pink, painted with the kind of urgent, physical mark-making that refuses to be decorative. The darkness is not absence here but atmosphere, the thing the blossoms are waking from. Seen together, the two panels have a breathing quality, as though the garden is caught mid-movement, caught mid-bloom.
ISABEL BREININGER
Nocturnal Bloom (Diptychon)
80 X 120cm
Acrylic on canvas
Nocturnal Bloom (Diptychon)
80 X 120cm
Acrylic on canvas
L. RENEE WILLIAMS
Born in the United States, L. Renee Williams returned to painting during a period of deep personal reflection, finding in it a language for what words could not hold. Working in acrylic, gesso, and heavy impasto, she builds layered, textured surfaces that move between abstraction and emerging figurative form. She has exhibited at Red Dot Miami, the Women in Art Biennale in London, and the European Museum of Modern Art in Barcelona.
Threshold I: The Between and Threshold II: The Arrival are a paired narrative, two canvases that follow a single figure through a single decision. In the first, he stands on a wet path between a familiar city and a luminous archway, already leaning toward the less certain road. In the second, he has stepped through: the arch now frames the entire composition and beyond it a still seascape opens under a pale sky, the uncertainty resolved into quiet. The heavily worked surfaces, stone-like and weathered, carry the weight of the choice as much as the figures do.
L. RENEE WILLIAMS
Threshold I: The Between
Threshold II: The Arrival
Acrylic and gesso on canvas
ENEXZYA
Enexzya made her debut in 2025 with the performance art series “Stop Binging Social Media - Watch Art and Don’t Waste Your Life”, which quickly gained attention and sparked discussion. Recognized early by the international press, her work entered private collections across Europe and the United States. In 2026, her work will be shown at One Art Space, New York, represented by Artio Gallery, and at the European Museum of Modern Art in Barcelona. Through synesthesia, Enexzya merges the lived and the transient with preservation through her art. Every piece is a blueprint of experience. Enexzya remains anonymous.
NATALI DEUS UNIVERSE
Based in the U.K, Natali Deus Universe trained in painting and graphics before completing a doctorate in cognitive psychology and parapsychology. Her practice weaves together fine art and spiritual philosophy, with each work built in oil and enriched with 99.9% gold leaf, rose quartz, jade, and other semi-precious stones. She has exhibited at the Carrousel du Louvre, Art Dubai, and Red Dot Miami, and received the International Prize at the Scuola Grande di San Teodoro in Venice.
Benzaiten, Dragon Goddess in Japanese is a richly layered oil painting in which the Japanese goddess of beauty, music, and wisdom rises from a swirling composition of dragon scales, cherry blossoms, and flame. Deep reds and blacks anchor the figure while gold leaf and pale flowing forms spiral outward around her, the dragon coiling above like a crown. The applied natural stones add a tactile dimension that photographs cannot fully capture, treating mythological subject matter with a committed seriousness that makes it genuinely transporting.
NATALI DEUS UNIVERSE
Details:
Benzaiten - Dragon Goddess in Japanese
PILAR MAINOU
Born in Mexico City, Pilar Mainou is an abstract artist whose practice grows from a background in jewelry design, bringing to painting the same precision and sensitivity to material that fine craft demands. Her brand Mainou sits at the intersection of detail and gestural freedom, and her work has been exhibited in Mexico City, Osaka, and Paris, and featured on Artsy and in international art publications.
Papel picado 1 is an acrylic on canvas that fills its square format with an all-over surge of red, yellow, blue, and green, the paint applied in thick, overlapping strokes that push against each other with real physical energy. The title invokes the Mexican paper cutting tradition, those brilliant fragments caught mid-air at a celebration, and the painting carries exactly that feeling: color in motion, nothing settled, everything vibrating between presence and disappearance. It is exuberant work that earns its intensity.
PILAR MAINOU
Papel picado 1
RITTER VON MAUERN
Born in Germany, Ritter von Mauern is an instinctive painter whose practice resists fixed style in favour of pure responsiveness — each canvas decided in the moment he stands before it. His work has been shown across Europe, Japan, and the United States, with exhibitions in Berlin, London, Paris, Milan, Tokyo, Stockholm, and New York.
Teich im rosa Licht, meaning pond in pink light, is an acrylic on canvas built from soft, atmospheric veils of colour that dissolve into one another without hard edges. Pink and grey bloom in the upper left, a hazy turquoise opens across the centre, and greens gather quietly at the bottom like a meadow seen through mist. Tiny birds are just legible in the distance, small enough to feel like a detail you discover rather than one you are shown. The whole painting has the quality of a landscape remembered rather than observed, hovering between stillness and feeling.
RITTER VON MAUERN
Teich im rosa Licht
MASAYUKI KOSUGE
Born in Japan in 1981, Masayuki Kosuge works as a data scientist and painter, two practices he understands not as opposites but as different approaches to the same question: how time is known versus how it is felt. He has been a finalist for the ACT Art Award and the Shibuya Art Award in Tokyo, and exhibited with the Exhibition of Dynamic Contemporary Artists in 2025.
Birthdays II is a pale, luminous oil painting in which soft vertical forms drift through a field of white and grey, with faint traces of gold and blush barely holding their ground before dissolving back into the surface. The title points not toward celebration but toward accumulation, the quiet layering of years that data can sequence but cannot fully account for. The painting sits very still and asks the same of the viewer, rewarding patience with a kind of depth that only becomes visible once you stop looking for it.
MASAYUKI KOSUGE
Birthdays
REBECCA ANTONIOU
Born in England and shaped by a career in fashion design, Rebecca Antoniou moved to New York before finding her way from illustration to fine art. Her recent work confronts the cultural myth that a woman's worth diminishes with age, and she has exhibited at the Hamptons Fine Art Fair, the Wausau Museum of Contemporary Art, and internationally in Barcelona, Milan, and Naples.
I'm still here, number eleven is an oil on canvas in which a nude female figure arches forward, arms extended, headless and cropped at the hip, the whole weight of the image carried by the body alone. Painted in warm ochres and browns against a pale, almost featureless ground, the figure is rendered with quiet precision and genuine tenderness. The title says what the pose enacts: refusal, presence, the body insisting on its own beauty regardless of who has stopped looking.
REBECCA ANTONIOU
‘I’m still here’ number eleven
Oil on canvas
BIANCA PIRLOG
Born in Romania and now based in London, Bianca Pirlog is a painter and mixed-media artist whose practice has been shaped by time spent in Romania, London, and Japan. Working in oil, ink, gold leaf, diamond dust, and acrylic, she builds layered surfaces where texture carries psychological weight. She has been recognised with the International Prize at Palazzo Borghese in Florence and the Excellence in Culture Award from the Ministry of Culture of Romania, and has exhibited at the Carrousel du Louvre, the Bellini Museum in Florence, and the European Museum of Modern Art in Barcelona.
The Weight of Seasons is a mixed-media work in which a female figure emerges from a dark ground, her face rendered with the quiet precision of Old Master portraiture while her head is encased in cracked, peeling leaves threaded with gold. The surface fractures and erosions are not damage but intention, the gold tracing the breaks rather than concealing them, in the tradition of kintsugi. Eyes closed, hand raised to her throat, she holds herself in a state of suspended becoming, neither whole nor undone. It is a beautiful and quietly sorrowful painting.
BIANCA PIRLOG
The Weight of Seasons
NADIA HUSTY
Born in Washington, D.C. and based in New York City, Nadia Husty holds a Master's degree from the Corcoran College of Art and Design. Drawing on a richly multicultural background, she approaches the canvas as psychological terrain, she builds paintings through gesture, layered texture, and the emotional charge of colour. She has exhibited at Victor Gallery, Galleria Gaudi in Munich and Madrid, Artexpo New York, and the Museum of Modern Art in Barcelona.
Nude is a large oil on canvas built entirely in flesh tones, rose, blush, taupe, and white layered and scraped into a surface that feels simultaneously intimate and exposed. The title is literal and pointed: this is a painting about being seen without cover, about the slow accumulation of concealment that perfectionism demands and the release that comes from setting it down. The texture is raw and unresolved in the best sense, the marks restless and searching, arriving finally at something that feels genuinely honest.
NADIA HUSTY
Nude
OLGA DAGER
A nouvelle approach to figurative composition has become the artistic signature of Olga Dager. Formally trained at the Miami Fine Arts Institute and a scion of a family deeply rooted in the art scene, she divides her time between New York, Los Angeles, and Miami. Her work has earned her the WAA Art Award, and Sunset Skin was awarded the Women's Essence Award in Milan in 2026.
A reclining figure fills the canvas in complete repose — eyes closed, body loose, cheek resting gently in her hand. Dager builds the composition around warmth in every sense: the deep crimson ground, the luminous gold-leaf orb rising behind her, and the rich amber tones of the figure itself create an atmosphere that feels less like observation than like being allowed into something private. The geometric textile anchors the composition with quiet cultural specificity, while the gold leaf elevates the everyday act of rest into something sacred. A painting about what it means to be fully at peace in your own body — and Dager renders that state with genuine tenderness.
OLGA DAGER
Soft Dream
ISTINTO ARTISTICO
Born in Tuscany in 1969, Simona Matteini works under the name Istinto Artistico and has developed what she calls Fluidism, an extension of Expressionism that dispenses entirely with representation in order to reach feeling directly. Her work is currently touring across all 21 provinces of Argentina and has been shown in Milan, Düsseldorf, and Oberhausen.
It Rains in the Night is an acrylic on canvas made using fluid pour techniques, with colours swirling and pooling across the surface in currents of olive, grey, brown, and blue, with bright flecks of yellow and white catching the light like reflections on wet ground. The result is less a painting of rain than a painting that behaves like it: moving, dispersing, gathering in unexpected places. The title’s quiet poetry suits the work, something nocturnal and ambient, felt rather than seen.
ISTINTO ARTISTICO
Details:
It rains in the notes (Piove nella notte)
100 X 70 cm
Acrylic on canvas
THOMAS TAMAGA
Thomas Tamaga is eleven years old and already painting with a confidence and conceptual clarity that stops you in your tracks.
Born in 2014, he works in acrylic on canvas, drawn to colour, texture, and the kind of unfiltered mark-making that most artists spend years trying to get back to. Portrait of a Thought is his debut in a professional exhibition context.
Portrait of a Thought places a cartoonish figure at the centre of a deep black ground, lime green and yellow, wide-eyed and gritting its teeth, while streams of red, yellow, blue, and white paint explode outward in every direction around it. The image says exactly what it means: a mind at its limit, thoughts finally bursting free. It has the visual logic and emotional directness of the best outsider painting, and the energy of someone who hasn't yet learned to hold back.
THOMAS TAMAGA
INHA ARCEO
Born in the Philippines in 1994, Gracinha "Inha" Arceo trained in classical drawing and painting at the Florence Academy of Art before building an international exhibition practice spanning Manila, Madrid, Monaco, and Lisbon. Her work merges figuration with expressionist energy, and carries a deliberate mission: to bring a distinct Filipino voice to the global stage.
Friends: Part 1 and Friends: Part 2 are a diptych set inside a Filipino home, two large acrylic canvases that together compose a single gathering around a red gingham tablecloth. Women move through a warm, brick-walled kitchen crowded with plants, crockery, sunflowers, and the accumulated detail of a life fully lived. The figures are rendered with loose, confident brushwork, their bodies present and unhurried, the scene vibrating with the particular ease of people who have nothing to prove to each other. Seen side by side, the two panels feel less like paintings than like a memory of an afternoon you wish you had been at.
INHA ARCEO
Friends: Part 1
Friends: Part 2
Details:
150 X 100 cm
Acrylic on canvas
CARMEN ESPEJO LOPEZ
Born in Granada and now based in Toledo, Carmen Espejo López is a self-taught painter who has forged her own artistic path alongside a career as a hairdresser. Her work is driven by a profound sensitivity and a constant search for personal expression — the duality between her daily craft and her creative life making her a singular and compelling figure. She has exhibited at Cuevas de Hércules in Toledo, Monat Gallery and Fundación Pons in Madrid, and City Hall in London.
Number 1 and Number 2 are two acrylic canvases that speak the same visual language in entirely different emotional registers. In Number 1, intersecting lines — fragments of newspaper rolled, painted, and laid across a dark brown ground — create a field of controlled tension, each crossing charged with energy, nothing quite at rest. Number 2 takes the same vocabulary and sets it against a cool sage ground, and everything changes: the same structures that pressed and collided now float and breathe. Together the two works are a conversation — one urgent, one unhurried — and a quiet demonstration of how profoundly a single gesture can shift when the world around it changes.
CARMEN ESPEJO LOPEZ
Number 1
Acrylic on canvas
Number 2
Acrylic on canvas
ZOFIA NIECHWIEDOWICZ
Zofia Niechwiedowicz is a Polish-American abstract painter whose practice is rooted in the emotional resonance of natural landscape, guided by a philosophy inherited from her photographer father: to make work with love as its animating force. She has exhibited consistently at the Harrisburg Art Association and the HMVC Gallery in New York, and internationally at Manat Gallery in Madrid and Paks Gallery in Vienna.
Abstract #18 is an oil on canvas built from broad, gestural strokes in a muted palette of grey, taupe, and white, with a warmer cluster at the centre where red, teal, mustard, and soft green gather and push against each other before dissolving back into the cooler ground. The surface is worked and reworked, marks overlapping in a way that feels less composed than accumulated, each layer a record of the painting's own becoming. It is a quiet and genuinely felt piece.
ZOFIA NIECHWIEDOWICZ
Abstract # 18
MARGARITA CANTÚ
Working between abstraction and organic form, Margarita Cantú creates intuitive compositions that explore emotion, healing, memory, and humanity’s connection to nature. Describing her practice as “painting the invisible,” her works channel the silent voice of the Earth through layered textures, fluid linework, and vibrant botanical forms.
Deeply influenced by spirituality and personal growth, Cantú’s creative process reflects an ongoing search for healing and connection with the Divine. In Raising, blooming organic forms rise upward in a vibrant composition that evokes renewal, resilience, and spiritual awakening. In Whispers Between Worlds, fluid blue and coral-toned structures drift through a dreamlike landscape suspended between land, water, and sky, reflecting themes of transformation, memory, and unseen energies.
MARGARITA CANTÚ
Whispers between Worlds
Details: 46 X46 cm
Acrylics and mixed media on canvas
Raising
Acrylics, gold and silver leaf, mixed media on canvas
ARTIO GALLERY
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!
Artio Gallery Team