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ARTISTS
Will Ryman
Moyosore Martins
Britt Boutros-Ghali
Miranda Pissarides
Gregory De La Haba
Michael Alexander Campbell
Julian Tauland
Anthony Daley
Paulo Laport
Winston Branch
Henry Hudson
Doug Argue
(All works are available for purchase unless noted otherwise.)
WILL RYMAN (b. 1969)
Untitled, 2011
(Rose 50 with lady Bug and Cigarette)
Steel, epoxy resin, plaster and paint
67 x 52 x 56 in. (170 x 132 x 142 cm)
Sculpture available for purchase. It is currently located in New York.
Provenance:
The artist
Lio Malca Fine Art, New York
Private Collection
Christie’s New York: First Open, Friday, March 08, 2013, Lot 190
Edelman Arts, New York
Móyòsóré Martins
Móyòsóré Martins is a self-taught, Nigerian-born mixed-media artist whose work merges Yoruba cultural heritage with a contemporary visual language. Raised in Lagos by a Brazilian father and a Nigerian mother from Ekiti State, Martins began drawing and painting at an early age as a means of expressing his spiritual curiosity and inner world.
Working across paintings and sculptures, Martins creates richly layered compositions that blend figurative, abstract, and narrative elements. His canvases are marked by bold brushwork, dense oil textures, collage, text, and symbolic imagery drawn from personal experience and cultural memory. He also produces three-dimensional works using clay, plasticine, and found materials, extending his visual language into sculptural form.
Despite early resistance from his father, who discouraged artistic pursuits, Martins studied computer science in Ghana and Côte d’Ivoire before immigrating to New York City in 2015 to fully commit to his practice. He now works from his studio in the Bronx.
Martins’ work is deeply autobiographical, functioning as a visual diary shaped by migration, identity, and spirituality. Recurring motifs including stylized figures, multiple eyes, and inscribed text carry layered meanings. The eyes suggest heightened awareness and visibility; exaggerated mouths evoke the intensity of public perception; while written words, formulas, and mantras act as tools of manifestation. His compositions often juxtapose traditional Yoruba iconography with contemporary influences, including references to popular culture and collectible toy figures.
A key work, Watchman, reflects both personal and symbolic narratives, referencing Yoruba statuary while drawing from Martins’ experience working as a night watchman in the Bronx. Throughout his practice, he resists categorization, instead building a cohesive body of work through material experimentation and a deeply personal symbolic language.
Martins has exhibited internationally, including at Varenne Contemporary (Geneva), TrafficArts (New York and Paris), TANG Contemporary (Hong Kong), Crossing Art Gallery (New York), Nassau County Museum of Art (Roslyn, NY), and Long-Sharp Gallery (Indianapolis, IN), among others.
BIOGRAPHY
SOLO EXHIBITIONS
2026 Móyòsóré Martins : The Great Boom! | Upsilon Gallery | Milan, Italy
The Artist Journey | Crossing Art Gallery | New York, USA
2022 Seen | Long-Sharp Gallery | Indianapolis, USA
2021 Móyòsóré Martins : Aranti | Path Gallery | Los Angeles, USA
SELECTED GROUP EXHIBITIONS & FAIRS
2026 National Pavilion of Sierra Leone | 61st Venice Biennale | Venice, Italy
The Language and Image of Us | LA Foundation | Ghana
2025 Blue Planet Umbilicus | LDM Arts | New York, USA
Blue Cross Charitable Auction | Geneva, Switzerland
The Coral Collective | Exhibition and Charitable Auction | Cap Ferrat, France
2024 Group Exhibition | Tang Contemporary Art | Hong Kong
2023 SCOPE Miami | Mitochondria Gallery | Miami, USA
Art Shenzhen | Crossing Art Gallery | Shenzhen, China
BUTTER | Long-Sharp Gallery | Indianapolis, USA
Portraits in Focus | Robert Fontaine Gallery | Miami, USA
Intimate | Robert Fontaine Gallery | Miami, USA
Beijing Contemporary Art Fair | Crossing Art | Beijing, China
2022 Palm Beach Modern + Contemporary | Long-Sharp Gallery | Palm Beach, USA
Art Miami | Long-Sharp Gallery | Miami, USA
BUTTER | Long-Sharp Gallery | Indianapolis, USA
BHEA Group Show | San Francisco, USA
2021 Songs Without Words: The Art of Music | Nassau County Museum of Art | Roslyn, USA
Featured Artist | Long-Sharp Gallery | Conrad Indianapolis | Indianapolis, USA
TrafficArts | New York, USA
2019 Holiday Group Exhibition | Dacia Gallery | New York, USA
2018 Heath Gallery | New York, USA
2017 Art United Presents: Radical Resistance to Xenophobia | Grady Alexis Gallery | New York
RESIDENCIES
2024 Artist Residency | Arms Around the Child Foundation | Ghana
Press Links:
Art Africa, 2026
Authority Magzine, 2026
Forbes, September 2025
Forbes, June 2024
Ebony, 2024
Forbes, October 2024
WWD 2024
ModaCulture 2024
Daily Trust 2024
Afrotique 2024
Art Basel News 2024
Whitehot Magazine 2023
Forbes, June 2023
Flaunt 2023
Artnet News-Buyers Guide 2023
Artnet News 2023
Forbes 2023
NY Magazine/Curbed 2022
Pattern Magazine 2022
Considering Art Podcast 2022
Yahoo News 2022
WRTV 2022
Forbes 2021
Portray Magazine 2021
Office Magazine 2021
Art Daily 2021
Forbes 2019
Asiri Magazine 2017
Moyosore Martins Shows Up to Paint, Podcast with Asher Gottesman
EDUCATION
Wisconsin International University College, Accra, Ghana
Studied Computer Science, graduated 2012, B.S.
University of Cocody (Université Félix Houphouët-Boigny), Abidjan, Côte d’Ivoire 2009 - 2012
Móyòsóré Martins
Untitled (8), 2025
Signed and dated on verso
Oil, oil stick, pigments, graphite on canvas
83.8 x 152.4 cm
33 x 60 in
Móyòsóré Martins
In The Presence of Ego, 2024
Signed and dated on verso
Oil, oil stick, pigment, ink, graphite on canvas
Each: 300 x 168.9 cm (118.1 x 66.5 in)
Total: 300 x 337.8 cm (118.1 x 133 in)
Emi Ko (It’s not me), III, 2025
Oil, acrylic, aerosole, graphite on canvas
157.5 x 132 cm
62 x 52 in
Móyòsóré Martins
Epiphany, 2025-2026
84 canvases (6 down, 14 across)
Each: 20.3 x 20.3 cm (8 x 8 in)
Total: 121.8 cm x 284.2 cm (48 x 112 in)
Móyòsóré Martins
Eye Gloo (Quadritych), 2026
Oil, oil stick, pigments, aerosole and graphite on canvas
Total size: 72 x 216 in (182.9 x 548.6 cm)
Móyòsóré Martins
The Great Boom! (Diptych), 2025
Oil, oil stick, pigments, aerosole and graphite on canvas
Total size: 150 x 360 cm (60 x 144 in.)
Móyòsóré Martins
BRITT BOUTROS GHALI
BRITT BOUTROS GHALI
Britt Boutros-Ghali, a world-class artist following the tradition of the abstract expressionist and color-field giants, such as Helen Frankenthaler and Joan Mitchel, from the 1950s forward. We represent the artist internationally, developing exhibitions, gallery placement, book publishing, auction oversight, press, art placement, as well as direct sales.Britt, the celebrated Norwegian abstract expressionist artist, has spent the last five decades living and working in Egypt, where she is an integral partof the country's artistic community. Her art, characterized by vibrant colors and large-scale energetic paintings, draws inspiration from Egypt's rich and exotic culture.
Employing "action painting.” Her work embodies a sense of spontaneity and creativitycoming from within.Britt divides her time between Cairo and Egypt's North Coast, some 20 km west of Alexandria, and has studios in both locations. Her home and atelier are a creative sanctuary infused with her intricate mosaics and murals inspired by the region. Local artists, collectors, and individuals with a penchant for the unique frequently gather at her home, while art enthusiasts from around the world journey to meet her and acquire her work.
Britt has been exhibited worldwide since her first exhibition in Paris in 1962 and is held in many public and private collections. In 1996, she received the prestigious St. Olav's Order, Norway's highest artistic honor, from King Harald for her cultural and creative contributions. In 2023, she accepted a lifetime achievement award from the Egyptian National Council for Women, a significant recognition in her adopted homeland.Born in 1937 in Svolvaer, Norway, Britt is equally influenced by her childhood experiences, marked by the stark seasonal contrasts of light and darkness, harsh weather, and the backdrop of World War II.
St. Olavs Order for Highest Achievements in the Arts, 1996 (Presented by King Harald of Norway)
Slovak Presidential Order for Art and Culture, 2010
Lifetime Achievement Award for Women in the Arts, Egyptian Government, 2023
Recent Press:
Considering Art with Bob Chaudy, 2025
London Daily News, 2025
Mayfair Times, 2025
ArtLyst by James Payne, 2025
House Collective, 2025
Artplugged, 2025
Flaunt, 2025
Medium, 2025
Ahram, 2025
BZ.Berlin, 2025
Martin Cid Magazine, 2025
Identity Magazine, 2025
Egypt Today, 2023
Egyptian Gazette, 2023
Britt Boutros-Ghali
Untitled, 2025
Acrylic on Canvas
190 ×135 cm (No 43-025)
BRITT BOUTROS-GHALI (b. 1937) Untitled, 2025 (No 94-025) Acrylic on canvas
180 x 180 cm (72 x 51 in.)
Britt Boutros-Ghali
Untitled, 2025
Acrylic on canvas
200 x 457.2 cm (78 ½ x 130 in) (No 65-025)
Work shown here not available for purchase.
Untitled, 2024
Acrylic on canvas
180 x 180 cm (71 x 71 in. )
(No 68-024)
Britt Boutros-Ghali
178 x 178 cm (70 x 50 1/2 in. ) (No 88-024)
Britt Boutros-Ghali
Untitled, 2024
Acrylic on canvas
Untitled, 2024
Acrylic on canvas
170 x 170 cm (67 x 67 in. ) (No 102-024)
Britt Boutros-Ghali
Britt Boutros-Ghali
Untitled, 2024
Acrylic on canvas
150 x 150 cm (59 x 59 in. ) (No 103-024)
MIRANDA PISSARIDES
Miranda Pissarides is a London-based mixed media artist with Cypriotic roots who works with painting, sculpture, taxidermy, mosaic, and drawing.
A graduate from the Slade School of Fine Art, University College London, with a BA (Honors) in Fine Art and Theory in 2012, Miranda's artistic journey includes notable achievements such as the Art Achievement Award at Queen's College London in 2007 and a Distinction grade during her Fine Art Foundation Diploma at St Martin's College, London in 2008.
Miranda has exhibited extensively in the UK, New York, Brazil, Italy, Spain, Cyprus, and Japan. She has held solo exhibitions in Rome, Japan, and London. Her work has also been displayed at prestigious venues like the Saatchi Gallery in London, where she won the Saatchi Gallery Young Artist Award in Fine Art in 2018. Notably, her sculptures were selected for exhibition at the Saatchi Gallery.
Pissarides’ work thrives on deliberate contradiction. She looks to create tension where attraction and aversion coexist by design. Lush, viscous surfaces of resin and pigment appear almost alive, seducing through color and shine. Yet the desire to touch is withheld, sharpening awareness of longing, control, and restraint.
“I’m interested in the tension between attraction and discomfort, and in how ornament and surface can quietly contain what can’t be released.” MP
Pissarides explores femininity and an enduring fascination with the charged innocence of girlhood navigating a dominant, masculine world. Her work oscillates between playfulness and threat, sweetness and unease. Candy-bright palettes and viscous, gooey textures evoke childish allure while resisting passivity or consumption. Hovering between painting and sculpture, the works assert themselves as physical presences, using material seduction to expose how beauty, power, and vulnerability are negotiated both on the surface of the work and the body it metaphorically reflects.
Working across painting, sculpture, drawing, Pissarides operates in a deliberately liminal space. Her practice is rooted in inhabiting the border between surface and volume, attraction and aversion, control and excess. This condition of suspension reflects a broader philosophical inquiry into uncertainty and transition: the old-world dissolving, the new one slow to emerge. In this chiaroscuro state, new forms and meanings are born.
Pissarides incorporates raw pigments as a foundational material, transforming them into a singular and highly controlled color language. A persistent disconnect between the perception of her internal world and external reality has driven an anthropological and psychological investigation, drawing her toward writers, philosophers, and psychoanalysts concerned with collapse those spaces where meaning, even symbolically, begins to fail.
In her works, dense accumulations of resin and pigment push the canvas toward threedimensionality. Surfaces behave like liquids made solid: colors touch but do not merge, held in tension until they erupt. Form remains unresolved neither fully surface nor fully volume reinforcing the work’s attractive-repulsive ambivalence.
English by birth and training, with Italian and Cypriot heritage, Miranda Pissarides graduated from the Slade School of Fine Art, London, in 2012. She has exhibited internationally in London, Italy, Cyprus, Kyoto, Brazil, and New York, and is the recipient of the ArtSlant Showcase Winner Award (2015) and the Saatchi Young Artist Prize (2018).
CURRENT EXHIBITION:
Glitter Fatigue, presented at TWO-PLUS-TWO, London (9 April – 2 May 2026), brings together a group of artists examining states of excess, depletion, and material transformation. Curated by Miranda Pissarides, whose practice navigates the tension between attraction and repulsion through viscous, unstable surfaces, the exhibition traces a shift from hyperfeminine spectacle toward entropy and collapse. Across painting and sculpture, seductive surfaces congeal into abject forms, where ornament curdles and luminosity persists in decay. Glitter Fatigue stages a collective meditation on dependency, exhaustion, and the afterlife of desire, positioning decay not as an endpoint but as a site of uneasy persistence.
Sad Little Sister, 2022
Resin and pigment
80 x 80 x 80 cm
31 ½ x 31 ½ x 31 ½ in
Miranda Pissarides
Pissarides Still There, 2026
Resin, pigment, objects
100 x 100 cm (39.4 x 39.4 in)
Miranda
Miranda Pissarides Watching, 2026
pigment, oil paint, glitter, metal leaf
60 x 60cm (23.6 x 23.6 in.)
Miranda Pissarides
Infected, 2026
pigment, oil paint, glitter, metal leaf
60 x 60cm (23.6 x 23.6 in.)
BIOGRAPHY
SOLO EXHIBITIONS
2020 Miranda Pissarides | Edelman Arts | New York, USA
2017 The In-Between | La Nuova Pesa Gallery | Rome, Italy Into The Aether | Artslav | London, UK
2016 Miranda Pissarides | Gallery K | Nicosia, Cyprus
2015 In Transit | Weissraum Gallery | Kyoto, Japan
GROUP EXHIBITIONS
2026 Glitter Fatigue (Curated by Miranda Pissarides) | Two Plus Two Gallery | London, UK
After the Escape | High Commission of Cyprus Residence | London, UK
Table Manners | Barbati Gallery | Venice, Italy
2025 Sickly Sweet Revenge | Hypha Studios | London, UK
Group Exhibition | La Nuova Pesa Gallery | Rome, Italy
2023 Between | Gerhardt Braun Gallery | Madrid, Spain
2022 Help Ukraine | Auction Collective | London, UK
Miranda Pissarides x Pringle | London, UK
2021 50x50 | Auction Collective | London, UK
RAW | Tom Cox Gallery | London, UK
Top 100 | Auction Collective | London, UK
Miranda Pissarides x Pringle | London, UK
Limitless | Tom Cox Gallery | London, UK
2020 Art Now | WeAreWaterloo | London, UK
Open Your Eyes | Koppel Project | London, UK
2019 Miranda Pissarides x Women’s Month | Christie’s | London, UK
2018 ABSTRACT: REALITY | Saatchi Gallery | London, UK
Sea Fever | Hoxton Arches | London, UK
Saatchi Art Prize Exhibit | Saatchi Gallery | London, UK
Saatchi Art Prize Winners | The Cass Art Space | London, UK
Threads | Espacio Gallery | London, UK
2017 Evocativo | ArtGallery37 | Turin, Italy
2016 Unbound | Espacio Gallery | London, UK
The Art of Regeneration | Menier Gallery | London, UK
2015 Love | Bosi Contemporary | New York, USA
Exposição Lar | São Paulo, Brazil
Central St. Giles | Covent Garden, London, UK
2014 Angel Islington Art Fair | Candid Arts | London, UK
What You Love | Bosi Contemporary | New York, USA
Exhibit | HSOA | London, UK
Central St. Giles | Covent Garden, London, UK
2012 New Ideas | Meulensteen Gallery | New York, USA
New End Art Foundation: Exhibit | New End Art Gallery | London, UK
New End Art Foundation: Debut | Shoreditch Town Hall | London, UK
Date Night and Popcorn | Lewisham ArtHouse | London, UK
Music Inn | Rome, Italy
2011 EXHIBIT: The Newham Art Show | Grassroots Centre | London, UK
2010 Murmurs | The Rag Factory | London, UK
Education:
London Taxidermy Academy (2014)
Slade School of Fine Art, UCL London BA Fine Art (2012)
Bezalel Academy of Arts and Design, Jerusalem, Israel (2011)
Byam Shaw School of Fine Art, St. Martin’s, London Foundation Diploma, Fine Art (2008)
QCL, London (2007)
Awards:
Arte Laguna Prize for Sculpture (2023)
Saatchi Young Artist Prize (2018)
ArtSlant 2015 Showcase Winner (2015) Arts Award, QCL London (2007)
Publications:
Hypha Studios
Hypha Curates
Cypria Auctions
Open Sea
UCL
Arte Laguna Prize
Wagner Skis
CASS Art
La Nuova Pesa
The Auction Collective
Exibart
Atribune
FeignArt
Saatchi Art
Kathimerini
MIRANDA PISSARIDES (b. 1988)
Untitled, 2019
78 3/4 x 78 3/4 in. (200 x 200 cm)
Table, 2014-2025
Mixed media on wooden board
122 x 122 cm
48 x 48 in
Miranda Pissarides
Untitled, 2019
Pigment and resin on canvas
200 x 200 cm
78.74 x 78.74 in.
Miranda Pissarides
Untitled, 2019
Pigment and resin on canvas
200 x 200 cm
78.74 x 78.74 in.
Miranda Pissarides
Pissarides Cloud II, 2020
Signed and dated on the back of the canvas. Pigment and resin on canvas
30 x 30 x 4 cm
12 x 12 x 1 ½ in
Miranda
Covid, 2020
Signed and dated on the back of the canvas.
Pigment and resin on canvas
30 x 30 x 2 cm
12 x 12 x 1 in
Miranda Pissarides
Stevie, 2022
Signed and dated on the back of the canvas.
Pigment and resin on canvas
20 x 20 cm
8 x 8 in
Miranda Pissarides
MIRANDA PISSARIDES (b. 1988)
Small Pink Child, 2024
Polyurethane foam, pigments, wood, toys
133 H x 150 x 150 cm (52 x 60 x 60 in.)
MIRANDA PISSARIDES (b. 1988)
Melting Cake, 2024
Resin, pigment, wood
191 H x 90 x 90 cm (75 x 23.5 x 23.5 in.)
Size Matters Plutchow Gallery, Zurich
GREGORY DE LA HABA
Gregory de la Haba is an American interdisciplinary artist, writer, curator, and cultural producer. A skilled painter with a pedagogical lineage that stretches back to Jacques - Louis David, he is an exemplary practitioner of fine art whose conceptual practice resists categor ization. De la Haba’s work explores themes of addiction, contemporary notions of masculinity, and Duende, a heightened state of emotion, expression, and authenticity derived from pure artistic expression. It is from this place that the artist unlocks his t rue self both in art and in life.
Since 2008, de la Haba has produced art - related ventures through his creative platform Bodega de la Haba. Notable projects include hosting literary events with Pulitzer Prize - winning poet Franz Wright, curating a survey of significant works by the celebrat ed artist Judy Rifka at Pulpo Gallery in Murnau am Staffelsee in Germany, and producing and narrating Terrence Browne’s Irish art history musical “Hazel - Made In Belfast” which premiered at Carnegie Hall.
A cum laude graduate of Harvard University, de la Haba has written on a number of artists including Billy the Artist, Richie Culver, Marcus Jansen, Cristina BanBan, Oscar Murillo, Al Diaz, California Locos (Dave Tourjé, Chaz Bojórquez, John Van Hamersveld, Norton Wisdom and Gary Wong), Miya Ando, Andy Moses, Timothy Warren Williams, Lance De Los Reyes, Mel Bochner and many others. De la Haba's writings and artworks have been featured in many publications including The New York Times, Southampton Review, Riz zoli’s Irish America, New York Arts Magazine, and Portray.
De la Haba’s work has been exhibited internationally in numerous galleries and art shows. In 2009, de la Haba was the Artist - in - Residence at Jack the Pelican Presents, where he firmly cemented his notoriety with a provocative body of work.
Gregory de la Haba in Glion, Switzerland, 2025
BIOGRAPHY
SOLO EXHIBITIONS
2026 Solo Show | Osthaus Museum Hagen | Hagen, Germany
2025 Everything is Made of Light | Solo Show | Greuer & Greuer Gallery | Düsseldorf, Germany
Traveling Exhibition (Curated by Massimo Scaringella) | South America
Centro Cultural Borges / Centro Cultural La Recoleta | Buenos Aires, Argentina
Centro Cultural Las Condes / Museo de Arte Contemporáneo (MAC) | Santiago, Chile
Museo de Arte Contemporáneo (MAC) / ICPNA Miraflores | Lima, Peru
Curitiba Biennial | Curitiba, Brazil
2024 The Easy Suite | Solo Show | Luisa Catucci Gallery | Berlin, Germany The Durrës International Biennale of Contemporary Art (DIBoCA) | National Pavilion of the United States | Durrës, Albania | Opening October 5
Master Painter from New York | Solo Show | Gouter Gallery | Seoul, Korea
SMALL TALK, Dirk Geuer präsentiert den New Yorker Künstler Gregory de la Haba, 2025
SMALL TALK, Dirk Geuer zeigt Gregory de la Habas Portale zu einer anderen Welt, 2025
CR PRESS, 2022
A GATHERING OF THE TRIBES, 2019
GAINSAYER, 2016
WHITEHOT MAGAZINE, 2012
AM NY, 2006
Website: https://delahaba.com/about - gregory/
GREGORY DE LA HABA (b. 1979)
The Locust of Being #10, 2025 (Diptych)
Multi media, collage, and oil on canvas
195 x 220 cm (76 x 86 in.)
GREGORY DE LA HABA (b. 1979)
The Locust of Being #12, 2025
Oil, spray paint, and krink marker on printed canvas
120 X 90 cm (48 x 35 in.)
GREGORY DE LA HABA (b. 1979)
“In The Name Of...” de la Haba Series #1, 2025 Oil, spray paint, and krink marker on printed canvas 180 x 160 cm (71 x 63 in.)
Biography
Michael Alexander Campbell (b. 1999, United Kingdom) is an artist raised in Switzerland and based in New York. He studied Fine Art at Lancaster University (UK), completing his degree with honors, and later undertook a residency at Palazzo Chupi in New York. He subsequently apprenticed in the studio of acclaimed painter and filmmaker Julian Schnabel.
Campbell’s practice centers on large-scale oil paintings that dwell in the moment just before abstraction becomes representation. Working from photographic sources, he distorts the image until only its underlying structure remains an inherited geometry where composition, rhythm, and tension survive long after subject matter dissolves. The resulting works evoke a narrative persistence akin to myth: stories that endure even as their characters shift and fade.
His canvases are marked by luminous, often psychedelic color harmonies that coexist with pockets of meticulous, classical brushwork, producing paintings that are at once raw, refined, and emotionally charged.
Campbell has exhibited throughout Europe and the United States, including solo exhibitions at Casa del Popolo (Palazzo Chupi) in New York and Hansel, Gretel and Barbie on a Bike at Luce Gallery in Turin. He has also participated in numerous group exhibitions across Europe and the U.S. In 2025 he presented work with Luce Gallery at Artissima and Untitled Miami Beach, and his next solo exhibition opens at Villa Magdalena 33 in Madrid (January 15–February 13, 2026).
Artist Statement
“My paintings exist in the space just before recognition where images begin to dissolve into memory, rhythm, and sensation. I start with photographs, but I work until their literalness disappears, leaving only a kind of structural echo. What interests me is how meaning survives distortion how something remains even when form gives way.
Color and texture become my way of thinking through that process. I want the surface to feel alive to breathe, to shift, to resist stillness. The work is not about reproducing what I see, but about finding what persists when seeing itself changes. Painti ng, for me, is a way to slow down time to hold a moment at the edge of disappearance.”
BIOGRAPHY SOLO EXHIBITIONS
2026 Solo Exhibition | Villa Magdalena 33 | Madrid, Spain
2025 Hansel, Gretel and Barbie on a Bike | Luce Gallery | Turin, Italy
Sovereign Lapse | Casa del Popolo (Palazzo Chupi) | New York, USA
SELECTED GROUP EXHIBITIONS
2026 Group Exhibition | Alex Berns | New York City
Group Exhibition | Tang Contemporary Art | Hong Kong
2025 Roses of Heliogabalus | Mriya Gallery | New York, USA
2023 Disruption | Peter Scott Gallery | Lancaster, UK
2020 Die Kleine Geschichte | Galerie 10 | St. Moritz, Switzerland
2019 2084 | Château Papillon des Arts | St. Moritz, Switzerland
RESIDENCIES
2025
Edelman Residency | Glion, Switzerland
Tamburini Projects | Florence, Italy
2023
Palazzo Chupi | New York, USA
EDUCATION & EXPERIENCE
2024–Present Studio Assistant to Julian Schnabel | New York, USA
2023
BA Fine Art | Lancaster University | Lancaster, UK PRESS & PUBLICATIONS
Whitehot Magazine, 2025
The Brooklyn Rail, 2025
Sterling Bowen Gallery, 2025
Website: www.michaelalexandercampbell.com
MICHAEL ALEXANDER CAMPBELL (b. 1999)
Little Red Riding Hood, 2025
Oil on canvas
190 x 160 cm (75 x 63 in.)
(Edward Teach), 2025 Signed and dated on verso Oil on canvas
162.6 x 121.9 cm 64 x 48 in
€ 8,500.00
Michael Alexander Campbell Blackbeard
Signed & dated
Oil on canvas
163 x 122 cm
64 x 48 in
Michael Alexander Campbell Cricket , 2025
MICHAEL ALEXANDER CAMPBELL (b. 1999) Proust, post Madeline, 2025 Oil on canvas
162.6 x 243.8 cm (64 x 96 in.)
Julian Tauland, France, 2025
JULIAN TAULAND lives and works in France, at Studio No.16 in the “Van Gogh Artists’ Village,” -Auvers-sur-Oise (Paris Region) — a town known as the cradle of Impressionism and Post-Impressionism.
Julian Tauland’s work explores the relationship between space, image, and perception. Through painting and digital techniques, he investigates how visual forms can evoke memory, emotion, and movement.
After arriving in Paris in 1993, Tauland worked closely with Albanian painter Valdet Hamidi, whose studio became an early center of artistic exchange and inspiration. There, he met key figures of the Albanian cultural scene in Paris, including Ismail Kadare, an encounter that deepened his intellectual and artistic outlook.
In 1997, Tauland entered the University of Paris 1 – Panthéon-Sorbonne, earning a Master’s degree in Visual Arts with distinction. His collaborations with professors Richard Conte and Michel Sicard played a key role in developing his visual language and conceptual thinking.
By 1999, Tauland had begun experimenting with digital imagery and large-format printing, creating a personal technique that merges digital composition with the texture and gesture of painting — blending the precision of technology with the poetry of the handmade.
In Auvers-sur-Oise, he befriended Guillaume Corneille, co-founder of the COBRA movement, whose influence continues to resonate in his work. After Corneille’s passing, his family entrusted Tauland with his studio materials — a symbolic continuation of artistic dialogue and legacy.
In 2015, Tauland co-founded GRAPS (Groupe d’Artistes Plasticiens), an international artist collective based in Auvers-sur-Oise, where he serves as President.
His works have been featured in several exhibitions and sold at auction at Hôtel Drouot, Paris. Since 2008, he has lived and worked full-time in his studio in the Van Gogh Artists’ Village, continuing his exploration of contemporary image-making and visual poetics.
JULIAN TAULAND, (b. 1972) Entrelacs 15, 2025
Mixed media on linen canvas 140 x 190 cm (55 x 75 in.)
JULIAN TAULAND, (b. 1972)
Entrelacs 12, 2025
Mixed media on linen canvas
145 x 190 cm (57 x 75 in.)
JULIAN TAULAND, (b. 1972) Entrelacs 11, 2024
Mixed media on linen canvas 150 x 200 cm (59 x 78 in.)
ANTHONY DALEY
ANTHONY DALEY (b. 1960) is a Caribbean-British abstract expressionist painter born in Jamaica in 1960. He moved to the United Kingdom in the 1970s and has lived in south London ever since.
He received his bachelor’s degree in fine art from Wimbledon School of Art in 1982 and his master’s degree in fine art from Chelsea School of Art in 1983. In 1984, Daley was awarded the Pollock-Krasner Painting Fellowship.
Since graduating from Chelsea College of Arts in the early 1980s, the artist has become increasingly celebrated for his captivating ability to seamlessly blend vibrant colours in an explosive and overwhelming fugue, presenting otherworldly meditations that provide a unique portal to the infinite and engage the viewer in a compelling dialogue between tradition and the dynamic aspects of modernity.
When Daley’s Greenwich studio was sold in the mid-1990s, he took his only break from painting, travelling through the United States and Europe while seeking greater financial stability. Upon returning to London, he established a new studio in Deptford, where he has worked ever since.
Since the 1990s, he has also taught at Chelsea College of Arts, with Chris Ofili among his former students.
Although deeply grounded in abstraction, Daley’s works often begin with still life arrangements, which he gradually reworks until their forms dissolve into emotionally charged compositions. The improvisational drips of paint and explosive colour fields recurring across his canvases reflect his dedication to the raw physical act of painting and demonstrate the central importance he places on experimentation and the continual search for new painterly possibilities.
Daley began exhibiting in 1983 with Flowers Gallery after receiving the gallery’s inaugural Artist of the Day award. Since then, his work has been presented in numerous galleries and museums, including the Barbican Arts Centre (1990), the Studio Museum in Harlem (1999), and Pulchri Studio (2014).
His works are held in prestigious public collections, including Tate Britain, the National Portrait Gallery, Dulwich Picture Gallery, Cartwright Hall Art Gallery, the Victoria and Albert Museum, Rugby Art Gallery and Museum, and the Art Institute of Chicago. His work is also represented in notable private collections, including those of the British Royal Family, François Pinault, Laurence Graff, and Dakis Joannou.
He also presented the acclaimed exhibition Son of Rubens at Dulwich Picture Gallery from August 27, 2022, to April 2, 2023.
BIOGRAPHY
SOLO EXHIBITIONS
2026 Upcoming Solo Show | New Blue-Chip Gallery | London, UK (scheduled for September)
Selling Exhibition | Sotheby’s | London, UK (scheduled for June)
Victoria and Albert Museum | London, UK (scheduled for May–July)
2024 Irreality – Anthony Daley | Varvara Roza Galleries × The Blender Gallery | London, UK
Swan Paintings | Flowers Gallery (Viewing Room) | London, UK
2023 Anthony Daley | Flowers Gallery | London, UK
2022 Anthony Daley: Son of Rubens | Dulwich Picture Gallery | London, UK
2021 Anthony Daley: Corporeality | Gallery OCA | London, UK
SELECTED GROUP EXHIBITIONS
2024 42nd Edition: Small is Beautiful | Flowers Gallery | London, UK
Moonlighting (a bite on the side) | Art in Perpetuity Trust (APT) Gallery | London, UK
Resonant Harmonies | Standing Pine Gallery | Nagoya & Tokyo, Japan
2022 Atlantic World Art Fair | Gallery OCA | Online on Artsy
2021 The Summer Exhibition | Royal Academy of Arts | London, UK
Gift | Art in Perpetuity Trust (APT) Gallery | London, UK
The Cast of Things | Art in Perpetuity Trust (APT) Gallery | London, UK
Autumn Attic | Flowers Gallery | London, UK
2020 Can’t Stop Our Flow | JM Gallery | London, UK
25 | Art in Perpetuity Trust (APT) Gallery | London, UK
2015 Small is Beautiful | Flowers Gallery | London, UK
2014 Small is Beautiful | Flowers Gallery | London, UK
2010 Deptford Painters | Arch Gallery | London, UK
2019 Multiples | Bridgeman Editions | London, UK
2018 Tom Hammick x Henry Hudson: Isolated Exteriors | Bridgeman Editions | London, UK
New Work Part II: Material | Cob Gallery | London, UK
2017 Summer Show | Carl Kostyál | Stockholm, Sweden
I Lost My Heart To Starship Trooper | Griffin Gallery | London, UK
2016 Naturalia | Paul Kasmin Gallery | New York, USA
213.4 x 167 6 cm
84 x 66 in
Anthony Daley Earth Reverb, 2022 Oil on canvas
Anthony Daley
Amber Bashing, 2022 Oil on canvas
213.4 x 167.6 cm
84 x 66 in
213.4 x 167.6 cm
84 x 66 in
Anthony Daley
Pushed by Breath, 2022
Oil on canvas
Anthony Daley
Shooting the Breeze with Peter Saul, 2022 Oil on canvas
213.4 x 167.6 cm 84 x 66 in
Anthony Daley
Hot Waring Cold Heart, 2022
Oil on canvas
213.4 x 167.6 cm
84 x 66 in
213.4 x 167.6 cm
84 x 66 in
Anthony Daley
Epocate, 2022
Oil on canvas
213.4
Anthony Daley
Herefrom, 2022 Oil on canvas
x 167.6 cm 84 x 66 in
PAULO LAPORT (1951)
Lives and works in Rio de Janeiro.
Paulo Laport began his artistic training in 1967–68, studying engraving at the Museu de Arte Moderna do Rio de Janeiro. In 1980 he continued his education in New York at the Art Students League and at Pratt Institute, experiences that would consolidate his rigorous engagement with the material and structural conditions of painting.
Among Laport’s early solo exhibitions, key milestones include shows at Gravura Brasileira Gallery (1981), Galeria Montesanti (1986), Paço Imperial, Rio de Janeiro (1995), and GB Arte (2000).
Paulo Laport. In 2012, after roughly a decade without exhibiting in his hometown, he returned to Rio with a solo exhibition at Galeria de Arte Marcia Barrozo do Amaral, presenting a group of new oil paintings accompanied by the bilingual catalogue Pintura Substantiva (Portuguese/English).
The following year, Laport made his United States solo debut at Edelman Arts in New York, where the exhibition “Paulo Laport” (2013) coincided with the gallery’s announcement of his exclusive representation, extending his presence in both European and North American contexts.
Throughout his career, Laport has participated in important institutional and group exhibitions. These include the 1st and 4th Salão Nacional de Artes Plásticas at MAM Rio (1978, 1981), the exhibition Velha Mania: Desenho EAV at Escola de Artes Visuais do Parque Lage (1984), and group shows at Galerie 1900–2000 (1988) and Galerie Richard Leroy (1989) in Paris. In Switzerland, he took part in Sélection FAE at the Musée d’Art Contemporain de Lausanne and exhibited at Galerie Faust, Geneva (1991), followed by a solo show at Galerie Lehmann in Lausanne (1992) and subsequent participation in international art fairs across Europe.
In 2018, Paço Imperial in Rio de Janeiro presented Pinturas 1992–2018, a survey of Laport’s paintings spanning more than two decades, curated by Paulo Venancio Filho, reaffirming the consistency of his exploration of the grid, surface, and the physicality of color.
Since 2012 his work has also maintained a steady presence on the secondary market, with auction records reflecting ongoing interest in his practice.
“My paintings are not allusions to things external to them. On the contrary, they keep literally within what presents itself. But the more austere they are in artifice, they become more comprehensive to me. That’s the issue. Paddling and brushing the paint drags and leaves their inscription while adding more paint. The modulation does not exist because the sense of calibration given by the paddle and the brush, the width and pressure, are done to pull out the undercoat in the coat being applied over it. That’s why you see both dimensions at the same time. The difficulty of doing means no falsifying ease, and imperfections have to be perfect. It should create a visual collision. Normally you approach to see small things. And when you do, you are hit by a train.” PL
PAULO LAPORT (b. 1951)
TORAK, 2012
Oil on linen
21.3 x 21.3 x 1.8 in (54 x 54 x 4.5 cm)
PAULO LAPORT (b. 1951) SAXTO, 2012 Oil on linen
78.7 x 63 x 3.9in (200 x 160 x 10 cm)
LACEN 2013 oil on linen
13.4 x 13.4 x 1.6 in (34 x 34 x 4 cm)
KALOX 2013 oil on linen
13.4 x 13.4 x 1.6 in (34 x 34 x 4 cm)
LEROX 2013 oil on linen
13.4 x 13.4 x 1.6 in (34 x 34 x 4 cm)
TUSKY 2011 oil on linen
13.4 x 13.4 x 1.6 in (34 x 34 x 4 cm)
PAULO LAPORT (b. 1951) Konix, 2012 Oil on linen
44.1 x 32.7 x 2.4 in (112 x 83 x 6 cm)
WINSTON BRANCH
WINSTON BRANCH (b. 1947) is a prominent British Postwar and Contemporary painter. Born in Saint Lucia in 1947, he studied at the Slade School of Fine Art under Frank Auerbach, where he crossed paths with emerging talents such as David Hockney, Howard Hodgkin, John Hoyland, and Patrick Procktor.
Although broader recognition came later in his career, Branch has established himself as one of the most compelling painters of his generation, earning a rightful place among the most accomplished British artists of the past sixty years.
Working primarily in acrylic, he creates richly coloured fields of paint that evoke hazy, atmospheric spaces. Paint is splattered, flicked, and spread in bursts of electric colour or earthy tones. His technique generates a sense of depth and movement, producing abstract landscapes that occasionally verge on the figurative.
At 77, Branch continues to paint daily. His contributions to both art and education have earned him numerous distinctions, including his appointment as an Officer of the Order of the British Empire (OBE) in 2024, the British Prix de Rome in 1971, a German Academic Exchange Service (DAAD) Fellowship to Berlin in 1976, and a John Simon Guggenheim Memorial Foundation Fellowship in 1978.
His paintings are held in numerous public and private collections, including Tate Britain, the British Museum, the Brooklyn Museum, Arts Council England, Rugby Art Gallery and Museum, the Victoria and Albert Museum, the Hamburger Kunsthalle, the Saint Louis Art Museum, the Crocker Art Museum, and the John Simon Guggenheim Memorial Foundation, among others.
In November 2025, Goodman Gallery announced its global representation of Winston Branch, and his work is scheduled to be presented in a major retrospective at Tate Britain in 2027.
Branch has exhibited consistently since the 1960s, presenting paintings and works on paper in more than 25 solo exhibitions and over 75 group exhibitions worldwide.
BIOGRAPHY
SOLO EXHIBITIONS
2027 Upcoming
Major Retrospective | Tate Britain | London, UK (scheduled for early 2027)
2025 Out of the Calabash | Goodman Gallery | London, UK
All Rivers Flow Too, The Sea, You Must Not Look Back | Galerie Volker Diehl | Berlin, Winston Branch: The Luminous Gesture | Cahiers d’Art Galerie | Paris, France
2023 The Sweet Scent of Magnolia | The Blender Gallery × Varvara Roza Galleries | London
Winston Branch: Journey into Light | Sotheby’s | London, UK
Fragments of Light | Cedric Bardawil Gallery × Varvara Roza Galleries | London, UK
2022
Winston Branch: Jasmines Blowing in the Wind | Simon Lee Gallery × Varvara Roza Galleries | London, UK
SELECTED GROUP EXHIBITIONS
2026 60th Anniversary Exhibition | Goodman Gallery | Paris, France
2025 Art Basel Miami | Art Fair – Goodman Gallery | Miami, USA
2024 Keeping Time | Gallery 1957 | Accra, Ghana
In Praise of Black Errantry | 60th Venice Biennale – Unit London | Venice, Italy
2023 Summer Exhibition | Royal Academy of Arts | London, UK
Art Basel 2023 | Simon Lee Gallery | Basel, Switzerland
2022 Sixty Years: The Unfinished Conversation | Tate Britain | London, UK
Art Basel Miami 2022 | Simon Lee Gallery | Miami, USA
Althea McNish: Color is Mine | Whitworth Art Gallery | Manchester, UK
2018 London Art Fair | London Art Fair | London, UK
2015 No Color Bar: Black British Art in Action 1960–1990 | Guildhall Art Gallery | London, UK
Untitled, 1993
178
70
Winston Branch
Acrylic on canvas
x 112.5 cm
x 44.3 in
121 x 85 cm
47.6 x 33.5 in
Winston Branch
Untitled, 1997
Acrylic on canvas
180 x 115 cm
71 × 45 in
Winston Branch
Untitled, 2023
Acrylic on canvas
121 x 85 cm
71 × 45 in
Winston Branch
Green Eyes in Blue Light, 2000
Acrylic on canvas
Winston Branch
Sunlight to Bodega Bay, 2004
Acrylic on canvas
70 x 40 cm
27.6 x 15.8 in
HENRY HUDSON
HENRY HUDSON (b. 1982) is a contemporary British artist living in London who works across painting, sculpture, ceramics, installation and printmaking. Hudson’s critical practice is expressed through the exploration of various techniques and materials, plasticine, scagliola, oil painting, 3D printing, wax, sand and textiles.
Born to a creative family in 1982 in Bath, Hudson’s father is a British sculptor, and his mother is an American chef. Raised in Yorkshire, Hudson’s professional interest in art emerged in his mid-teens. He studied at Ampleforth College and later received a degree from Central Saint Martins, London, with a BA Honors in 2005.
For the past several years, Hudson has been best known for his distinctive use of plasticine as an artistic medium in the creation of textured paintings. He was initially inspired by School of London artists such as Leon Kossoff and Frank Auerbach, who were known for their works rendered in thick impasto oil paint. He began using plasticine as an economical way to achieve a similar effect to the densely layered paint. As he developed his practice, he soon discovered the theatrical and expressive qualities peculiar to the medium. This offered him an innovative and exciting way to develop his painterly technique, focus on materiality, and passion for gestural expression. It has remained an evolving staple of Hudson's practice.
More recently, he started using plaster and glue as an artistic medium for the first time in his “Scagliola” series, which allows for quicker and less labor-intensive execution compared to his plasticine paintings.
Hudson’s work thematically covers much ground, from exploring social stereotypes to satirizing the madness of contemporary life. His scenes are often theatrical and, at first glance, appear playful, yet this humor masks a darker picture that reveals a grotesque and depraved version of humanity. Scattered throughout the works are references to contemporary political affairs, the consumerist idols, and the obscene products of salacious desire. Hudson depicts a world that, at first glance, seems trapped in the depth of hedonistic excess. However, closer inspection reveals glimpses of hope and reminders of the fundamentals that keep us grounded in a deeper level of reality.
Hudson has been widely profiled over the years in major international media, which have highlighted both his critical acclaim and market momentum. Publications include The Guardian, Vanity Fair, The New York Times, British GQ, and Reuters.
In addition, Hudson has had numerous solo and group shows, and his work is collected by notable figures such as Robert Hiscox, Marc Quinn, Jay Jopling, Katrin Henkel, Mario Testino, Tommy Hilfiger, and Peter Gabriel who commissioned Hudson to create for an album cover and set design, underscoring the cross-disciplinary recognition of his practice.
BIOGRAPHY
SOLO EXHIBITIONS
2026 – Upcoming
Solo Show | Honor Fraser Gallery | Los Angeles, USA (scheduled for November)
Solo Show | Galerie Kandlhofer | Vienna, Austria (scheduled for July)
2024 Sanctuary Room: Cave of the Mind | Palo Gallery | New York, USA
2023 Painting with Sculpture: Reflections on the State of the Nature | Unit London | London
2022 Shanti | Unit London | London, UK
Ontological Spherescapes | Palo Gallery | New York, USA
Scapes | Unit London | London, UK
2021 Henry Hudson: Microcosm | Online Viewing Room via Simon de Pury’s Instagram + artist studio exhibition | London, UK
2020 Pathway | Galerie Kandlhofer | Vienna, Austria
At Some Point of Time | Galerie Isa | Mumbai, India
2019 Henry Hudson: Nothing Sticks to Nothing | Hannah Barry Gallery | London, UK
2018 Henry Hudson: Jungles | Albion Barn | Oxfordshire, UK
2017 Sun City Tanning | Carl Kostyál | London, UK
2016 Sun City Tanning | Sotheby’s S|2 | New York, USA
SELECTED GROUP EXHIBITIONS
2025-26 40th Anniversary Exhibition | Saatchi Gallery | London, UK
2024 AI & Technology Influence on Contemporary Art | Gabriel Scott Showroom | London, UK
The Hudsons, Family Ties | Claridge’s ArtSpace | London, UK
2023 ART021 Shanghai Contemporary | Art Fair – Unit London | Shanghai, China
Ten: A Decade of Unit | Unit London | London, UK
Eye of the Collector | Art Fair at Two Temple Place | London, UK
London Calling | Unit London | London, UK
2022 Manscaping | The Hole | New York & Los Angeles, USA
Summer Show | Royal Academy of Arts | London, UK
In The Round | Unit London | London, UK
2021 Nature Morte | The Hole | New York, USA
Rites of Passage | Unit London | London, UK
2020 Inspiration – Iconic Works | Nationalmuseum | Stockholm, Sweden
The Eternity Exhibition | The Painting Rooms | London, UK
2019 Multiples | Bridgeman Editions | London, UK
2018 Tom Hammick x Henry Hudson: Isolated Exteriors | Bridgeman Editions | London, UK
New Work Part II: Material | Cob Gallery | London, UK
2017 Summer Show | Carl Kostyál | Stockholm, Sweden
I Lost My Heart To Starship Trooper | Griffin Gallery | London, UK
2016 Naturalia | Paul Kasmin Gallery | New York, USA
Henry Hudson
At some point in time – the wild flowers lament, 2024
Plasticine on aluminum board
81.5 x 95 cm
32 x 37.4 in
Henry Hudson
At some point in time – there will be no mystery’s, 2024
Plasticine on aluminum board
79.5 x 100 cm
31.3 x 39.4 in
At some point in time – where the spirits dwell, 2024
95 x 72 cm
37.4 × 28.3 in
Henry Hudson
Plasticine on aluminum board
Henry Hudson (51.4854272, -0.1438161), 2024
Plaster, pigment, glue, and beeswax on aluminum board
220 x 124 cm - 2 panels (each 110 x 124 cm)
86.6 × 48.8 in – 2 panesl (each 43.3 × 48.8 in)
Henry Hudson (51.5002419, -0.1200453), 2022
Plaster, pigment, glue, and beeswax on aluminum board 156 x 220 cm - 2 panels (each 156 x 110 cm)
61.4 × 86.6 in - 2 panels (each 61.4 × 43.3 in)
Henry Hudson
(51.5342662, - 0.0584855), 2019
Plaster, pigment, glue, and beeswax on aluminum board
134 x 108.5 cm (unframed), 142 x 116 cm (framed)
52.8 × 42.7 in (unframed), 55.9 × 45.7 in (framed)
Henry Hudson (52.1127606, -2.0035924), 2024
130 x 215 cm
51.2 × 84.6 in
Plaster, pigment, glue, and beeswax on aluminum board
170 x 120 cm
57 × 47 in
Henry Hudson
Horizon Line – Somewhere over Baffin Bay, 2023. Pigment, petroleum jelly, calcium salts, chalk with dry pigment in polyvinyl acetate on aluminum board
Henry Hudson
Horizon Line – Somewhere over the Norwegian Sea, 2022
Pigment, petroleum jelly, calcium salts, chalk with dry pigment in polyvinyl acetate on aluminum board
170 x 120 cm
57 × 47 in
Doug Argue | Genesis, 2007-2009 | Oil on linen | 160 x 230 in.
MICHELLE EDELMAN
Michelle Edelman FOUNDER is all about the story of the brand. Her journey started with human psychology, wandered through the world of art, magazines and photography, and culminated with branding and art. Having been raised in Scandinavia and the Middle East, thrived on the east coast and the west, she brings her insight to branding, design, and a global understanding of culture and trends on human behavior. Her career has traveled equally effortlessly, from designer, editor, agent, agency executive, and gallerist at places like the Village Voice, CDB Gobé, Lister Butler, Mirabella, and Allure magazine. Eventually, she forged her own path by founding TRAFFIC–the groundbreaking agency and first to represent the individual components of traditional advertising agency, while also representing artists bridging the commercial and art worlds.
Together with her husband, a financier and art industry insider, they created M&A Arts SArl focused on the business of Art and Finance. They are also committed to collecting art and shepparding emerging artists.
SHEREKA EVANS
An industry insider with over 20 years at TRAFFIC, as Executive Vice President, Shereka oversees business operations, marketing, artist relations, and account management. She plays an invaluable role in bridging the relationships between clients and artists. She is strategically minded and solutions-oriented. Culturally attuned and new media savvy, she has a keen understanding of the shifts in marketing, media, and culture as a whole. On a personal note, she is a keen writer, poet, and taste-maker. She holds a Bachelor of Arts in Forensic Psychology from John Jay University. Shereka is Jamaican/American, embodying the best of both cultures.
She holds a BA in Social Psychology & Communications from University of California Santa Cruz. Michelle was born in Olso, Norway and spent her youth in Norway, France, England, Germany, and Egypt.
