Working with graphite on clayboard—a notably smooth, hard, and resistant surface—Simon Haas renders scenes of ordinary life with a quiet, meticulous, clarity. His subjects dwell in the everyday: a shower, a close-up of a man’s shoulder, or a shady, overgrown landscape. Alongside these, he depicts encounters of sexual intimacy and liberation, with a particular penchant for images of glory holes and anonymous spaces. Drawing from queer visual culture and personal experience, drawings embrace a straightforwardness that heightens their sensitivity to touch, texture, and the observed world.

Simon Haas (b. 1984) is one half of the artist duo The Haas Brothers. Together the brothers are known for sculptural works that blur the boundaries between art and design through furniture and objects that draw on themes of nature, fantasy, and humor. Works by The Haas Brothers are held in major public collections including the Cooper Hewitt, Smithsonian Design Museum, New York; the Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; and the RISD Museum, Providence. Haas lives and works in Los Angeles, CA.

Veronica Fernandez’s figurative paintings depict vivid characters and dramatic environments give way to mood, duration, and residue of memory. While her works begin with elements of autobiography, Fernandez resists overly specific realism. Her subject matter recalls the Ashcan School, an American artistic “movement” of the late 19th and early 20th centuries, unified by the desire to tell certain truths about modern life in urban New York City’s poorer neighborhoods. Similarly unfettered, Fernandez shines a positive light on her memories, painting toward a youthful vitality. The children and adolescents who occupy a central role in her compositions are playful figures brimming with private sentiment, moving between interior and exterior, where individuals are granted poetry and frankness as she uncovers layers of humanity.

Veronica Fernandez (b. 1998, Norfolk, VA) completed her BFA at The School of Visual Arts in NYC. Recently she has exhibited her solo I Should Have Prayed For Other People, with Pippy Houldsworth Gallery. More recent solo and duo exhibitions include What will you give?, Night Gallery, Los Angeles, CA (2024); I’ll Never Close My Eyes Again, Galleria Poggiali, Milan (2023); When You Hold Onto My Spirit, Will You Let Your Spirit Grow?, Sow & Tailor, Los Angeles, CA (2022); and I Put My Faith In My Temple, Thierry Goldberg, New York, NY (2020). Recent group exhibitions include After Each Night We Are Emptier, Anat Ebgi, (2025); Goddesses, Jeffrey Deitch Gallery, Miami, FL (2022); Hot Concrete, curated by Melanie Ouyang Lum, K11 Musea, Hong Kong (2022); Narrative Minds, Asia Art Centre, Taipei (2022); I Do My Own Stunts, Spazio Amanita, Los Angeles, CA (2022); Visual Unpredictability, Patrick Parrish Gallery, New York, NY (2021); Buscando Recuerdos, Hashimoto Contemporary, New York, NY (2021); and De Lo Mío, Jenkins Johnson Gallery, New York, NY (2020). Fernandez lives and works in Los Angeles, CA. 

Colored by the classic still-life genre, with the appearance of being digitally produced, Erin Wright paintings depict intimate and ruinous relationships between objects and characters that are not present. Her compositions explore ideas such as indifference and presentation, examining every detail of her subjects equivocally. Her arrangements and the relationships between objects are rendered non-hierarchically, becoming blatantly arbitrary with uncanny relationships to their surroundings and contexts.

Erin Wright (b. 1990, Memphis, TN, USA) is a painter and professor of architecture at Woodbury University. She studied fine arts at The School of the Art Institute of Chicago (BFA, 2012) and architecture at the University of California, Los Angeles (M. Arch, 2016). She is an adjunct professor of architecture at Woodbury University, Burbank, CA. Her paintings have been exhibited in numerous solo and group exhibitions at galleries including Anat Ebgi, Los Angeles, CA; MAKI Gallery, Tokyo, Japan; Sow & Tailor, Los Angeles, CA; Field Projects New York, NY; Trestle Gallery, Brooklyn, NY; Showhouse Jay, Antwerp, BE; Maple Street Construct, Omaha, NE; and Storefront for Art and Architecture, New York, NY. Her work has been featured in Artforum, New American Paintings, Architectural Digest, and The New York Times. Wright’s work is in the permanent collection of the Perez Art Museum, Miami, FL and the NexAir and Wynn Infiniti corporate collection. She recently had her first solo exhibition with Anat Ebgi in New York, titled Mapping The Middle. Her forthcoming solo exhibition will take place at Anat Ebgi in Los Angeles in September 2026. Wright lives and works in Los Angeles, CA.

Olive Diamond makes colorful, narratively open pictures often set within loosely defined historical worlds. She works with both glazed ceramics—stoneware and porcelain—and oil painting, each sharing a dreamy, dissipating quality that aligns with the unpredictable behavior of her materials. While the ceramics are primarily wall-mounted, resembling clay tablets, they are rendered with thin etched lifework and colored custom glazes developed through experimental trials, chance, and chemical reactions. Her oil paintings share similar qualities, building through fracturing lines, layered transparencies, and hazy almost-colorfield grounds.

Thematically, Diamond’s work considers how meaning and knowledge are formed and transmitted across time—through myth, family history, cultural exchange, and technological development. Her visual language draws on a type of untethered storybook logic, moving fluidly between history, folklore, childhood fantasy, and personal experiences. Her work presents the world as perpetually in formation, and emerges through a negotiation between material discovery and narrative exploration.

Olive Diamond (b. 1998) graduated from Rhode Island School of Design in 2021 with a BFA in Painting and Ceramics. Diamond was awarded the 2021 Florence Leif Award and the 2020 Anderson Ranch Fellowship. Her work has been exhibited at the Fall River Museum of Contemporary Art, Fall River, MA; Anat Ebgi, Los Angeles / New York; Loyal Gallery, Stockholm, Sweden; Japanese American Cultural Community Centre, Los Angeles, CA; Sow & Tailor, Los Angeles, CA; Unit London, London, United Kingdom; South Willard Gallery, Los Angeles, CA; and 1969 Gallery, New York, NY. A forthcoming solo exhibition, opening April 2026, will take place at Anat Ebgi, Los Angeles. Diamond lives and works in Los Angeles, CA.

Evoking the body and its ongoing relationship to technology, Korean American artist Meeson Pae’s work explores the sensual architecture of organic and mechanical forms. With the assistance of 3D sculpting software, Pae renders her muscular mechanisms and fluid flesh virtually. This process allows her to exploit a limitless potential of scale, gravity, perspective, and to boundlessly ‘undo’ or ‘redo’ her subject matter until she has arrived at a moment of climactic transformation. Across media, whether oil painting or sculptures fabricated through industrial processes, such as 3D printing and laser-cut steel,  Pae’s work examines how shifting states can alter our perceptions of the abstract and representational, the organic and architectural, the internal and external.

Drawn to the visceral, Pae’s protuberances and cavities, lumps and spills form mechanical organs creating entangled compositions that function symbiotically. Pae builds worlds that are invisible, fanciful, and futuristic—her objects seem aware of their own fragility oscillating between micro and macro spatiality. Her imagery occupies an unfamiliar landscape; the dark strangeness of these settings heightens the alien origins of these processors, atoms, motherboards, or molecules. Across her multifaceted practice, the works speak to a desire for exploration of spaces that extend beyond human understanding. 

Meeson Pae (b. 1979, Indianapolis, IN) received her fine art degree from University of California Los Angeles. She has exhibited in solo and group exhibitions throughout Asia, Europe, and the United States, including K11 Musea, Hong Kong, China; Carl Kostyal, London, UK; Anat Ebgi, Los Angeles, CA; Carpenter Center at Harvard University, Cambridge, MA; Torrance Art Museum, Torrence, CA; Kala Art Institute, Berkeley, CA; and Japanese American National Museum, Los Angeles, CA; among others. Pae has completed numerous public projects and commissions including Le Meridien Hotel, Zhengzhou, China; Royal Caribbean International Ltd, Papenburg, DE; Internet Brands, El Segundo, CA; WebMD, Newark, NJ; Phoenix Biomedical University Office of Arts and Culture, Pasadena Arts & Culture Commission, Los Angeles International Airport, Ontario Airport, Ontario, CA; and Mobile Exhibits Arts Council, Long Beach, CA. Pae’s work has appeared in The New York Times, the Korea Times, the Los Angeles Times, Metal Magazine, New Scientist, Art & Object, and Prestige Hong Kong, among many others. Her forthcoming solo exhibition will take place at Anat Ebgi in New York in November 2026. Pae lives and works in Los Angeles, CA.

Gloria Klein developed systems and processes to experiment with palettes and compositions that result in intricate patterns ranging from the highly structured to the completely chaotic and every variation in between. The interplay of order and disruption plays a vital role in Klein’s practice, who came of age in 1970s New York. Klein’s slender hard-edged hatch marks of varying lengths were core to her expression. Like a single sewing stitch only makes one mark, collectively hundreds and thousands of them create intricate patterns and complex compositions. Her systematic paintings and drawings from the 1970s are belied by their exuberant color and form. They can be read as Minimalist, Conceptual, and systems-based, but they are also indebted to the burgeoning support for ‘women work’ and the Pattern & Decoration movement. Her legacy of advocacy on behalf of women and lesbian artists, such as herself, has long been excluded from the art historical canon.

Gloria Klein (b. 1936, Brooklyn, NY; d. 2021) began her adult education with a BA in Economics at the Brooklyn College, City University of New York. Following which she attended the Brooklyn Museum School of Art, the Art Students League of New York, and finally in 1970 she enrolled at Hunter College where she took classes with conceptual artist Robert Barry and Robert Swain. She obtained her MA in art from Hunter College in 1973. Klein exhibited widely in group and solo exhibitions throughout the 1970s and 80s including at Hunter College, New York, NY; The Brooklyn Museum, Brooklyn, NY; The Aldrich Museum, Ridgefield, CT; P.S.1., Long Island City, NY; 112 Workshop, New York, NY; and A.I.R., New York, NY, among many others.  

During her lifetime, Klein was awarded several awards, including artists’ residences, scholarships, and grants such as the International Women’s Year Award (1975-76); Studio Space at Vermont Studio School, Johnson, VT (1988); Honorable Mention, Turchin Center for Visual Arts, Boone, North Carolina (2005); Adolph & Esther Gottlieb Foundation Grant (2005), and Pollock/Krasner Foundation Grant (2007). Her work can be found in many private and public collections and corporate. Among the institutions, we can mention the Dallas Museum of Art, Dallas, TX and The Blanton Museum of Art at the University of Texas at Austin. Some of the corporates include Chase Manhattan Bank, Chemical Bank, Citibank, Lehmann Brothers Corporation, Sherman and Sterling, Swiss Reinsurance Company, and Texaco, to name a few. In 2024, Anat Ebgi presented the first solo exhibition of Klein’s work in Los Angeles.

Jenny Morgan’s diaphanous paintings are inhabited by hyper-realistic figures ebbing in and out of focus, merging into landscape or diffusing gently into a painterly fog. There is a razor’s edge quality in the calm precision of Morgan’s deliberate brush stroke, which can be quick and expressive as well as invisible and exact. Her work recalls numerous art historical references, from Venetian reclining nudes to playful rococo paintings, all while imbuing a hypnotic, euphoric, and hyper-present setting.    

Jenny Morgan (b. 1982 Salt Lake City, UT) holds a BA from the Rocky Mountain College of Art and Design, Denver, CO and an MFA from the School of Visual Arts, New York, NY. Her first solo museum exhibition Skin Deep with the Museum of Contemporary Art Denver took place in 2017. Morgan has had solo exhibitions in New York, London, Colorado, Utah, and New Mexico. Her work has been included in numerous group exhibitions including Summer Lovin’ at Stems Gallery, Paris, France; Corpo e Mente at LVH Art, Venice, Italy; If you forget my name, you will go astray at Anat Ebgi, Los Angeles, CA; and Women of Now at the Green Family Art Foundation, Dallas, TX. Her work is in the permanent collections of several public museums including Denver Art Museum, Denver, CO; Institute of Contemporary Art Miami, Miami, FL; Purdue University Art Gallery, West Lafayette, IN; Museum of Contemporary Art Jacksonville, Jacksonville, FL; Muskegon Museum of Art, Muskegon, MI; UNiversity of Maryland’s Stamp Student Union Art Collection, College Park, MD; New Mexico State University, Las Cruces, NM; and Flint Institute of Arts, Flint, MI. Her forthcoming solo exhibition will take place at Anat Ebgi in Los Angeles in September 2026. Morgan lives and works in Brooklyn, NY.

Gideon Rubin is a London-based painter whose work explores themes of memory, history, and identity. His practice operates at the intersection of figuration and abstraction, often working from photographic source material such as vintage film stills, personal photo albums, anonymous images from the internet, and his own photographs. Rubin’s paintings are fragments of a larger story, moments in time that encourage personal reflection and multiple interpretations. By distancing his subjects from their original context, he allows the viewer to create their own narratives, drawing on personal histories and emotional connections.

Rubin’s paintings often revisit scenes of childhood and adolescence, recurring motifs that are deeply reflective and introspective. The figures he paints remain slightly unknowable, inviting the viewer to focus on the subtle details the tilt of a head, the gesture of a hand, or the surrounding space that make up the larger, more hidden narrative.

Notable exhibitions include Moon Above Water at Galerie Karsten Greve, Paris (2024), Living Memory: Louise Bourgeois, Nicolas Godin, Gideon Rubin curated by Beth Greenacre at All Saint’s Chapel, London (2023), and Black Book, a solo exhibition at the Freud Museum, London (2018). In 2023, his second major monograph, Look Again, was published by Anomie Publishing, featuring essays by Jennifer Higgie, Dr. Matthew Holman, and conversation with artist Varda Caivano.

Rubin’s work is represented by prominent galleries worldwide, including Galerie Karsten Greve (Paris, Cologne, St. Moritz), Anat Ebgi (Los Angeles / New York), Hosfelt Gallery (San Francisco), Fox Jensen Gallery (Sydney, Auckland), Monica de Cardenas Gallery (Milan), Alon Segev Gallery (Tel Aviv), and Maho Kubota Gallery (Japan).

Rubin’s works are also featured in prestigious collections including Museum Voorlinden (The Netherlands), Collezione Maramotti (Italy), The Collezione Fondazione San Patrignano (Italy), Park Seobo Foundation (South Korea) and Herzliya Museum for Contemporary Art (Israel).

Museum Voorlinden Collection, The Netherlands; Herzliya Museum for Contemporary Art, Israel; McEvoy Foundation for the Arts, San Francisco; Rubin Museum, Israel; Collezione Maramotti, Italy; The Collezione Fondazione San Patrignano, Italy; Collezione Associazione Genesi, Italy; Fondation Frances, France; Park Seobo Foundation, South Korea; Kunsthalle Bremen, Germany; Minneapolis Institute of Art, Minnesota.

Jessica Taylor Bellamy is an artist of juxtapositions: image and text, abstraction and figuration, handmade and mass produced, reality and fantasy, sunshine and noir. A native Angeleno, born and raised in Whittier to an Ashkenazi Jewish mother and an Afro-Cuban father, Bellamy’s practice considers this particular familial history to address notions of home, homeland, and landscape. The artist’s work is rooted in her observations living at the edge of a precarious paradise of shifting ecological tensions. 

Jessica Taylor Bellamy (b. 1992, Whittier, CA) received an MFA from the Roski School of Art at the University of Southern California in 2022 and a BA in Political Science from the University of Southern California in 2014. Bellamy’s work has been featured in exhibitions with Anat Ebgi, Los Angeles / New York; UTA Artist Space, Los Angeles, CA; GRIMM, New York, NY; Charlie James Gallery, Los Angeles, CA; Make Room LA, Los Angeles, CA; Superposition Gallery hosted at Ochi Aux, Los Angeles, CA; and Lyles and King Gallery, New York, NY. Bellamy is the recipient of artist grants from Los Angeles Lakers sponsored ‘In the Paint’ art program 2024-25 and LACE (Los Angeles Contemporary Exhibitions) Lighting Fund 2025. Her forthcoming solo exhibition will take place at Anat Ebgi in New York in March 2026. Bellamy lives and works in Los Angeles, CA.

Led by a stoic introspection and tenderness born of intimacy, Caleb Hahne Quintana’s paintings draw from his upbringing in the American Southwest and his Mexican heritage to create emotionally charged portraits, landscapes, and still lives. His subjects frequently include young men riding horses, wrestling, swimming, or more quiet moments with figures sitting in a window or sharing a cigarette. He begins with drawing—a step he describes as “liberating” and will often repeat subjects across media including, colored pencil, ink, and gouache before moving to “the more arduous act of painting.” Closely cropped or wide-angle perspectives draw viewers in to Hahne Quintana’s observations about the haziness of memory and boyhood. His meditative observations elevate the mundane to the profound and the overlooked to the monumental.

Caleb Hahne Quintana (b. 1993, Denver, CO) received a BFA in Fine Arts from Rocky Mountain College of Art and Design. His work has been exhibited in group exhibitions at museums including Strike Fast, Dance Lightly: Artists on Boxing at The Norton Museum of Art, West Palm Beach, FL and The FLAG Art Foundation, New York, NY;  Fire Figure Fantasy at ICA Miami and Who Tells a Tale, Adds a Tail: Latin America and Contemporary Art at the Denver Art Museum.

Recent solo exhibitions include A Boy That Don’t Bleed, Anat Ebgi, New York, NY; albertz benda, Los Angeles, CA; The Earth, It Held Me, 1969 Gallery, New York, NY; and The Path From Sea to Sky, The Cabin, Los Angeles, CA. His work has also exhibited at Sean Kelly Gallery, Los Angeles and New York; Lyles & King, New York, NY; Alexander Berggruen, New York, NY; Kunstraum Potsdam, Germany; DELI Gallery, New York, NY; and OMR Gallery, Mexico City, MX. Hahne Quintana’s works are in the permanent collections of the Denver Art Museum, Denver, CO; the High Museum of Art, Atlanta, GA; X Museum, Beijing, China; and the Institute of Contemporary Art Miami (ICA Miami). Hahne Quintana lives and works in New York, NY.

German artist Fabian Treiber is dedicated to questioning perceptions of reality through depictions of interior and exterior spaces. He approaches these compositions formally, rather than narratively and in so doing produces environments that are at once constructive and dissolving. As he describes, the works “seem not quite right, but are just right.” This conscious break posits that what is supposedly false and constructed, is in fact the essential quality of a painting. Windows and doorways provide glimpses of landscapes and morning skies, while interior staircases and halls expand his pictures, embracing a cinematic suggestion of movement, elongation, and narrative.

Fabian Treiber (b. 1986, Ludwigsburg Germany) studied Fine Art at the Stuttgart State Academy of Art and Design, Stuttgart, Germany. He was awarded the Karl Schmidt-Rottluff Scholarship for his work up to 2018 and was granted by the Kunsthalle Nürnberg with the Marianne Defet Painting Scholarship the same year. In 2021 he was a finalist for the Große-Hans-Purrmann Prize. His works have been shown in solo exhibitions at Kunsthalle Nürnberg; Kunstverein Ludwigsburg; Museum zu Allerheiligen, Schaffhausen; Ruttkowski;68 Gallery, Cologne and Paris; KANT Gallery, Copenhagen, Haverkampf Leistenschneider Gallery, Berlin and Galerie Mark Müller, Zurich. Further in group exhibitions at Kunsthalle Düsseldorf; Villa Merkel Galerien der Stadt Esslingen a.N.; Staatliche Kunsthalle Baden-Baden; Kunstverein Speyer, Arts Projects Australia, Melbourne; CFHILL Art Space, Stockholm; König Gallery, Berlin; and Kunstverein Lüneburg. His 2022 solo exhibition Sunrise Doesn’t Last All Morning at Anat Ebgi, Los Angeles, CA was the artist’s debut in the United States. Treiber lives and works in Stuttgart, Germany.

Anabel Juárez’s ceramic sculptures of plants and flowers combine a selection of both native Californian species and migrant plants that arrived in the region through multiple paths. She considers their stories of origin as well as the plant’s natural characteristics to reflect on notions of migration, adaptation, and survival. These buckets of flowers are inspired by the vendors, who set up temporary mobile shops on street corners across Los Angeles, many of whom are immigrants of Latino heritage. Juárez’s works pay homage to their resilience and the labor they perform and the vibrant, ephemeral spaces they create bringing beauty and life to the urban landscape.

Anabel Juárez is a binational artist born in Michoacán, México (1988), who lives and works in Los Angeles county. Juárez received an MFA in Art from the University of California, Los Angeles and a BFA in ceramics from California State University, Long Beach. Her work has been showcased in solo exhibitions at Carolyn Campagna Kleefeld Art Museum, California State University, Long Beach; Five Car Garage, Santa Monica, CA; and Lefebre & Fils, Paris, FR. Selected group exhibitions include Anat Ebgi, Los Angeles / New York; Guerrero Gallery, Los Angeles, CA; K11MUSEA, Hong Kong, CN; American Museum of Ceramic Art, Pomona, CA; Grounds for Sculpture, Hamilton Township, NJ; The Mistake Room, Los Angeles, CA; The Ruth Chandler Williamson Gallery, Scripps College, Claremont, CA; The Pit, Palm Springs, CA; Galeria Mascota, México City, MX; Sow & Tailor, Los Angeles, CA; and Craft Contemporary Museum, Los Angeles, CA, among others. Her work has been reviewed in publications including Artforum, Hyperallergic, and La Revue de la Céramique et Du Verre. Juárez’s work is in collections including the French National Ceramics Museum-Sèvres, as well as in several private collections.

Angela Lane paints postcard-size landscapes, aligning herself with the art historical tradition of depicting environments of celestial and mysterious phenomena. Robust pastoral beauty, bathed in soft light or cloaked in fog, is offset by dramatic eclipses, comets, or twin suns. These phenomenons suggest a range of mirages and visions open to broad interpretation, which in Lane’s words “leave the events in the paintings to be their own messengers.”

The intimate scale of Lane’s oil on wood paintings, compels viewers to draw quite near in order to see them properly—giving the sense that these visions are your very own. Despite this commitment to the diminutive, the artist achieves a magnetic sense of drama and verdant solitude. Occasionally certain phenomena are repeated either in title, or through shared compositional elements, suggesting passage of time, or varying moods and emotional states.

At times informed by recorded accounts of unexplained meteorological events from the early medieval period, the artist also channels her mystical forms through automatism. Her loose brushwork and painterly articulations register gradually. Lane’s interest in spontaneity and inspiration emerges from the desire to look at the spirit and essence of the world, rather than record its surface details.

Angela Lane (b. 1974, United Kingdom) made her American debut in 2022 with a solo exhibition Beside the Sun at Anat Ebgi, Los Angeles, CA. Phosphene, her first solo exhibition in a public institution took place in 2023 at City Gallery Wellington in the capital of Aotearoa New Zealand. Her work has been included in group exhibitions since then at Nicodim Gallery, Los Angeles, CA; Meyer Riegger, Berlin, Germany; and Cob Gallery, London, UK. Her forthcoming solo exhibition will take place at Anat Ebgi in Los Angeles in June 2026, Lane will also guest curate an expansive group exhibition taking place concurrently in New York and Los Angeles. Lane lives and works in Waikanae, New Zealand.

Soumya Netrabile’s rounded and irregular shapes accumulate over time into dense clusters of intermingling line and color. She embraces the freedom and openness of abstraction to “process happenings in the world,” unconstrained by preconceived ideas. Allowing her materials to speak, they find their eventual bulbous shapes, elongated contours, and interconnected compartments. The juxtaposition of tangles of brushwork and directional masses in the foreground against banded atmospheres of colored ground, creates a compression of space beneath, relating to complex relationships and networks that form the natural world. 

Soumya Netrabile (b. 1966, Bangalore, India) received a BFA from the School of the Art Institute of Chicago and a B.S. in Electrical Engineering from Rutgers University. Recent solo exhibitions include A Stone in my Pocket, Union Pacific, London, UK; Holding Current, Rachel Uffner, New York, NY; mono no aware, Andrew Rafacz, Chicago, IL; and Soft Fascination, Gana Art, Seoul, KR. Netrabile has exhibited work in exhibitions at museums and galleries including Kunsthal N, Copenhagen, DK; Project 88, Mumbai, IN;  Anthony Meier, Mill Valley, CA; Anat Ebgi, Los Angeles / New York; Karma, New York, NY; Pt. 2 Gallery, Oakland, CA; Alexander Berggruen, New York, NY; and Stellarhighway, Brooklyn, NY, among others. Netrabile’s work has been acquired by public collections including Orange County Museum of Art, Costa Mesa, CA; Crocker Art Museum, Sacramento, CA; and University Club of Chicago, Chicago, IL. Netrabile lives and works in Chicago, IL.

Krzysztof Strzelecki works across a variety of media with a particular focus on ceramic vessels that explore homoeroticism and human sexuality. Growing up isolated and homosexual in rural Poland, the scenes depicted in Strzelecki’s ‘Cruising Fantasies’ emerge from the longing for an erotic and romantic escape. Surfing the web, browsing apps, and his own personal archive of photography, the artist preserves these images of men on his captivating vessels. In an array of vivid colors and shapes, at times evoking cactus, waves, fruit, or even apartment buildings, Strzelecki creates his own world where his subjects inhabit their environments freely and unselfconsciously.

Krzysztof Strzelecki (b. 1993, Świdnica, Poland) earned his BFA in photography from the University of the Arts London (UAL), Camberwell. Recent solo exhibitions include Rendezvous, Anat Ebgi, New York, NY and Summer Scenes, Taymour Grahne Projects, London, UK. He has exhibited in group exhibitions at FLAG Art Foundation, New York, NY; The Norton Museum of Art, West Palm Beach, FL; Anat Ebgi, Los Angeles / New York; Kasmin, New York, NY; Gaa Gallery, Provincetown, MA; The Bunker Art Space, Palm Beach, FL; Copeland Gallery, London, UK; BEERS, London, UK; and JPS Gallery, Tokyo, Japan. Strzelecki presented work at the British Ceramics Biennial at Stoke on Trent, UK in 2024 and 2025. His work has been acquired by the Dallas Museum of Art, Dallas, TX and the RISD Museum, Providence, RI. Strzelecki lives and works between Poland and London, UK.

Jane Margarette is a Filipino American artist working in ceramics and installation. Her sculptures explore notions of strength, protection, sensuality, and captivity. The various animals and insects in her work, adorned with chains and lures, disguise themselves as mechanical locks that tempt viewers to touch and manipulate the ‘functional’ mechanisms.

Created by traditional slab construction, the interlocking puzzle-like objects Margarette creates also explore architectural motifs such as doors, windows, and gates. There is a surrealist quality present in her work—locks shaped like insects, doors with eyes, baskets of teeth and fruit. Playful with scale, Margarette is not trying to pass these objects off as the real thing, rather as icons glistening in fluid blue and muted pink, they yield their irresistible secrets.

Margarette enjoys the unpredictable alchemy of the glazing process, which introduces an element of surprise and imagination. Unlike painting one can’t control exactly how the final work will turn out; final forms emerge from the kiln—a metaphorical cocoon—transformed into glistening objects.

Jane Margarette (b. 1985, San Diego, CA) received her MFA in Ceramics from the University of California Los Angeles (UCLA), Los Angeles, CA in 2020 and her BFA from California State University Long Beach, Long Beach, CA in 2016. She has exhibited her work in solo exhibitions at Anat Ebgi, Los Angeles, CA; Ruttkowski;68, Paris, France; and 1969 Gallery, New York, NY. She has also exhibited in group exhibitions including Ruttkowski;68, Paris, France; Sargent’s Daughters, Los Angeles, CA; Galerie Wolfsen, Aalborg, Denmark; Grounds for Sculpture, Hamilton, NJ; and Moskowitz Bayse, Los Angeles, CA. The artist has taught as a professor of Ceramics at Cal State University, Bakersfield, CA and Cal State University, Long Beach, CA. Her work is in the permanent collection of the Crocker Art Museum, Sacramento, CA and the Grand Rapids Art Museum, Grand Rapids, MI. Margarette lives and works in Los Angeles, CA.

Portraitist Alannah Farrell paints and pays tribute to their queer friends, lovers, and neighbors in atmospheric, emotional, and brooding environments. Conversations around portraiture uncover questions of identity, gaze, style, and expression. Farrell’s work touches on these, but moves confidently into personal questions about the human psyche, gender dysphoria, and selfhood. 

The works are charged with a complex tenderness, revealing an intimacy and trust between artist and sitter. Farrell presents these queer individuals through a lens of understanding and connection, a context shielded from a society eager to erase or enact violence. Informed by art historical traditions, each work is executed using a classical grisaille underpainting before the glazing layers introduce pastel haze and traveling light. 

Farrell paints thoughtfully and attentively from life. These paintings depict more than a moment, rather time itself unfurling before our eyes—shifting light, shifting weight, the emergence of the inner world. They describe the process of inviting sitters into the studio as an adrenaline rush—having to work with time as a restriction and the challenge of attempting to capture what is full of life and motion into a singular image.

Alannah Farrell (b. 1988, Kingston, NY) is a queer painter who lives and works in New York, NY. Farrell completed their BFA at The Cooper Union, New York, NY in 2011. They have exhibited their work in solo and group exhibitions at galleries including Anat Ebgi, Los Angeles, CA; Green Family Art Foundation, Dallas, TX; Harper’s, New York, NY; Richard Heller Gallery, Santa Monica, CA; The Painting Center, New York; Theirry Goldberg Gallery, New York; and UTA Artist Space, Los Angeles. Their forthcoming solo exhibition will take place at Anat Ebgi in New York in September 2026.  Farrell lives and works in Upstate New York. 

Drawing inspiration from historical works, which are intentionally kept anonymous, Joshua Petker’s paintings rely instead on their ability to evoke the familiar and uncanny, teasing and tantalizing. Rather than draw specific conclusions from these juxtapositions, his work unleashes an exhilarating proliferation of meanings and pictorial puzzles. The artist offers the history of art and visual culture reshuffled—Picabia, Bronzino, soviet era cartoons. Petker makes these his own and the outcome is a timeless dreamlike mix of perspective and emotionality.

With scenes that teeter on the brink of romance and libertinism, Petker invites us to join bands of revelry and onlookers as they promenade through expansive historical timelines. Recently his scenes of social merriment conjure clinking glasses, sweet serenades, and rowdy limericks. Petker ribs formal painting conventions and plunges viewers further into the artist’s dreamworld—a place colored by the finality of history and the haziness of memory.

Joshua Petker (b. 1979, Los Angeles, CA) completed his MFA at the California Institute of the Arts (CalArts), Santa Clarita, CA and his BFA at Evergreen State College, Olympia, WA. He has exhibited his work in solo exhibitions at Anat Ebgi, Los Angeles, CA; Rachel Uffner, New York, NY; ASHES/ASHES, Los Angeles, CA; and Monte Vista Projects, Los Angeles, CA; as well as group exhibitions at albertz benda, New York, NY; Althuis Holland, Amsterdam, Netherlands; Spurs Gallery, Beijing, China; Carl Kostyál Gallery, Stockholm, Sweden; La Loma Projects, Pasadena, CA; and ACME, Los Angeles, CA. His works are in the permanent collection of the K11 Art Foundation, Hong Kong, China and X Museum, Beijing, China. Petker lives and works in Los Angeles, CA.

Robert Russell is a conceptual painter whose work returns to ideas of memory, iconography, and mortality in a personal painting language that treat ordinary objects—cups, books, figurines, candles—as vessels of personal history and ritual. Working in a subdued palette and precise contemplative approach, he explores how images can be sanctified by attention: how repetition, gesture, and witness can transform the mass-produced form into a site of devotion. Across series—from his imagined artist monograph ‘Book’ series and engulfing ‘Teacups’ to portraits of Judaica objects—Russell’s work holds grief, memory, and survival in tension with sublime beauty and everyday function. His latest series, including Porzellan Manufaktur Allah, Stateless Objects and the Yahrzeit candles, extend these inquiries into how objects become witnesses of history and repositories of truth and meaning.

Robert Russell (b. 1971, Kansas City, MO) completed his MFA at The California Institute of the Arts (CalArts), Valencia, CA and his Bachelor of Fine Arts from the Rhode Island School of Design (RISD), Providence, RI. Russell has had solo exhibitions at galleries including Miles McEnery Gallery, New York, NY; Anat Ebgi, Los Angeles, CA;The Cabin, Los Angeles, CA; Burrard Arts Foundation, Vancouver, B.C., Canada; LA><ART, Los Angeles, CA; François Ghebaly Gallery, Los Angeles, CA; BIg Pond Artworks, Munich, Germany;and OSMOS Station, Stamford, NY. His work has been exhibited in group shows including Roberts Projects, Los Angeles, CA; Material Press MOCA LA, Los Angeles, CA; M+B Gallery, Los Angeles, CA; Honor Fraser Gallery, Los Angeles, CA; Susanne Vielmetter, Los Angeles, CA; and Gavlak Projects, Palm Beach, FL. Russell lives and works in Los Angeles, CA.

 

Marisa Adesman’s compositions are an exquisite performance of dramatic tension: stillness under pressure, the moment before escape, the suspenseful beat before a trick is resolved. She mingles ethereal and phantasmagoric imagery of the surrealist period with Dutch still life and vanitas paintings from 16th and 17th century Europe. Likewise, she retains all the attendant technical mastery which defined those artistic styles. 

Smooth and luminous, built through hundreds of layers of glazing, Adesman achieves a silky surface. Her obsessive technique captures hyperreal droplets of blood, stained glass, delicate petals, ripe fruit, and soft flesh with meticulous focus. Adesman’s paintings transform domestic spaces into a stage for private disobedience, erotic tension, and emotional precision

Marisa Adesman (b. 1991, Roslyn, NY) received her MFA from the Rhode Island School of Design, Providence, RI and her BFA from Washington University, St. Louis, MO. In 2023, the KMAC Contemporary Art Museum, Louisville, KY debuted her first museum exhibition. Adesman has exhibited widely, including at the Contemporary Art Museum (CAM), St. Louis, MO; Black Mountain College Museum, Asheville, NC; Mead Art Museum, Amherst College; Amherst, MA; and Anat Ebgi, Los Angeles / New York. Her work is in public collections including Museum of Contemporary Art San Diego, San Diego, CA; and Museo d’Arte Moderna di Bologna (MAMbo), Bologna, Italy. Adesman lives and works in Chicago, IL.

Moving between genres and geographies, Tina Girouard (1946 – 2020) invested objecthood with meaning through ritual, performance, role-playing, and community participation. From the 1970s until her death, she played a galvanizing role in the founding and development of a range of alternative art organizations, including the Anarchitecture Group, the interdisciplinary cohort of 112 Greene Street, FOOD restaurant, The Kitchen, P.S. 1, the Festival International de la Louisiane, and as a collaborator in artist communities in Louisiana, New York, and Haiti.

Girouard’s first comprehensive retrospective SIGN-IN opened at the Museo Rufino Tamayo in Mexico City in May 2025. After debuting at the Ogden Museum of Southern Art, New Orleans in 2024, the retrospective also travelled to the Center for Art, Research, and Alliances (CARA) in New York.

Girouard’s extensive exhibition history includes a 1983 mid-career survey mounted at the Museo Rufino Tamayo in Mexico City, and international events such as the 1980 Venice Biennale, the 1977 Paris Biennale, 1977 Documenta VI and 1972 Documenta V, Kassel. Her work has exhibited widely at galleries and museums including: Anat Ebgi, Los Angeles / New York, Leo Castelli Gallery, The Kitchen, Walker Art Center, New Orleans Museum of Art, Museum of Contemporary Art Chicago, Palais des Beaux-Arts Brussels, Holly Solomon Gallery, David Zwirner, the Museum of Contemporary Art Los Angeles, and the New Museum.

Girouard was featured in the exhibition With Pleasure: Pattern and Decoration in American Art 1972 – 1985 curated by Anna Katz, originating at MOCA Los Angeles, which traveled to the Hessel Museum of Art, Bard College, NY. Girouard’s work is in the permanent collections of the Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY; Dallas Museum of Art, Dallas, TX; Institute of Contemporary Art, Miami, FL; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA; Ludwig Forum fur International Kunst Aachen, DE; Rufino Tamayo Museum, Mexico City, Mexico; and Stedelijk Museum Actuele Kunst, Gent, Belgium.

Since 2019, the artist Estate of Tina Girouard has been represented by Anat Ebgi. The gallery presented an historic restaging of her most important performances Pinwheel (1977) in curatorial partnership with Lumi Tan and The Kitchen, NYC for the inaugural Meridians sector at Art Basel Miami Beach. Following this in February 2020, A Place That Has No Name: Early Works, the first solo exhibition of her work in Los Angeles took place at Anat Ebgi, the last presentation of her work prior to her passing. In June 2025 the gallery will present a selection of 1970s works by Girouard in the Features Sector at Art Basel, Switzerland.

 

 

Sarah Ann Weber employs painting and drawing to create overgrown landscapes that are both verdant and putrefied, while confounding traditional expectations of the landscape genre. Rather than replicating the surface details of our natural surroundings, Weber’s marvelous evocations of nature concern themselves with the spiritual essence of the world, decentralizing the figure. By choreographing vegetation through her imaginative stylizations, the artist proposes that psychological and emotional worlds are as complex and as ripe for exploration as the one beyond our bodies.

Sarah Ann Weber (b. 1988, Chicago, IL) received her MFA from the Pennsylvania Academy of the Fine Arts and her BFA from the School of the Art Institute, Chicago. Weber has exhibited her work in solo exhibitions at Anat Ebgi, Los Angeles; 12.26, Dallas, TX; Club Pro, Los Angeles; The Franklin, Chicago; and a two-person exhibition with Allison Hall at SOCO Gallery, Charlotte, NC. Selected group exhibitions include Stems Gallery, Paris, France; MAUVE Gallery, Vienna, Austria; Greenpoint Terminal Gallery, Brooklyn; Hunter Shaw Fine Art, Los Angeles; Galerie Nord/Kunstverein Tiergarten, Berlin; Locust Projects, Miami; and Andrew Rafacz Gallery, Chicago. 

Weber’s work has been acquired by public and private collections including the Cummer Museum of Art & Gardens, Jacksonville, FL; Figge Art Museum, Davenport, IA; United States Department of State, US Embassy in Guatemala City; Xiao Museum of Contemporary Art, Suzhou, China; among others. Her work is currently included in a museum exhibition, Art in Bloom at the Cummer Museum of Art & Gardens, Jacksonville, FL. Weber lives and works in Chicago, IL.

Taking from her perspective, a decentered feminist lens, Tammi Campbell’s work dons the art historical canon as armature and challenge. She notes how totemic male artists dominate institutional, collection, and market narratives, despite decades of powerful waves of decolonization and feminist critique.

Campbell’s appropriative practice comes out of a long line of women artists, such as Sturtevant and Sherri Levine, who have employed appropriation to compelling ends. There is a nod to institutional critique in the desire to literally “package up” and put away these works into storage to make room for women or lesser recognized artists, while simultaneously unable to escape the visibility of the canon itself.

Carefully “wrapping” each work in acrylic paint that has been cast in molds to replicate bubble wrap, tape, and cardboard, Campbell’s ability to nearly replicate packing materials out of paint is alchemical. In addition to Ruscha, Campbell continues her investigation of other artists whose work she has learned to imitate, including Jasper Johns, Andy Warhol, and Kenneth Noland. Each is shown with her material reconstructions: faux bubble wrap, cardboard, polywrap, and wood crates. There is cheeky humor to Campbell’s works that raises questions about institutional structures, the canon, and systems of invisible labor used to validate those histories.

Tammi Campbell (b. 1974, Calgary, Alberta) received her BFA from the University of Saskatchewan, Saskatoon. Campbell has exhibited in solo exhibitions internationally including at Anat Ebgi, New York, NY; MAKI Gallery, Tokyo; Blouin Division, Montréal, QC. Her work has been exhibited in group exhibitions at galleries and museums including Arsenal, New York, NY; Gavlak, Los Angeles, CA; Remai Modern, Saskatoon, SK; Vancouver Art Gallery, Vancouver, B.C.; and the Galerie de l’UQAM, Montréal, QC. She participated in the Canadian Biennale 2014 at the National Gallery of Canada, Ottawa, ON, as well as the 30th International Symposium of Contemporary Art of Baie-St-Paul. 

Campbell’s work is in public collections including the National Gallery of Canada, Ottowa, ON; Musée des beaux-arts de Montréal, Montréal, QC; MacKenzie Art Gallery, Regina, SK; Remai Modern, Saskatchewan, QC; The Aïshti Foundation, Jal El Dib, Lebanon; Royal Bank of Canada Financial Group, Toronto, ON; Toronto-Dominion Bank Group, Toronto, ON; and National Gallery of Canada/Musée des beaux-arts du Canada, Ottawa, ON; among others. Campbell lives and works in Montréal, Quebec.

From his drawings to his installation works, Cosmo Whyte frequently draws upon his Caribbean roots through his conceptual use of material to his allegorical engagement with historical events and images. He investigates the broad complexities of Black diasporic and migrant experiences resulting in work that feels simultaneously familiar and dislocating and reflects the multiplicity and fluidity of identity. He offers complicated juxtapositions with intentionally slippery legibility as a way to interrogate the shaping of discourse around particular events, regions, or periods—especially as they relate to interpretations of the colonial project in the Caribbean and its postcolonial diaspora.

Cosmo Whyte (b. 1982, St. Andrew, Jamaica) received a BFA from Bennington College, a post-baccalaureate at Maryland Institute College of Art, and a MFA from University of Michigan. Recent museum exhibitions include The Mother’s Tongue, Pressed to the Grinding Stone at The Arts Club of Chicago (2025), Beneath Its Tongue The Fish Rolls The Hook To Sharpen Its Cadence at MOCA Georgia (2020), and No Longers Yours at ICA San Diego (2020).

Whyte has exhibited in biennial exhibitions including Prospect.5 New Orleans (2022) 13th Havana Biennial, the Jamaica Biennial (2017), and the Atlanta Biennial (2016). His work has been included in exhibitions at Museum of Contemporary Art, Chicago, IL; The High Museum of Art, Atlanta, GA; The Drawing Center, New York, NY; The Somerset House, London, UK; Museum of Latin American Art, Los Angeles, CA; Atlanta Contemporary, Atlanta, GA; Centre Georges Pompidou, Paris, France; and the National Gallery of Jamaica, Kingston, Jamaica.

Whyte’s work is in public museum collections including the High Museum, Atlanta; Museum of Contemporary Art, Chicago, IL; International African American Museum, Charlotte, NC; Museum of Contemporary Art Georgia; National Gallery of Jamaica; Pérez Art Museum Miami; and the Speed Museum, Louisville, KY. In 2022 he joined the UCLA School of the Arts and Architecture as an assistant professor. Whyte lives and works in Los Angeles, CA.

Known for her psychological portraits of women, Janet Werner works from found images culled from both fashion magazines and art historical references. Her most recent works place female figures within the landscape, drawing inspiration from Romantic, Rococo, and early Modernist art history. Although her work eschews naturalism, she has grown ever-more ambivalent about her subject-cum-performers, finding satisfaction with interruptions and psychological “splits.” The works possess a seductive openness, a vulnerability manifested through the figures’ gazes that allows viewers to project onto them. We relate to them through their disruptions shrinking, covering, flipping, contorting.

Janet Werner (b. 1959, Winnipeg, Manitoba) received her MFA from Yale University, after which she returned to Canada, where she taught at the University of Saskatchewan from 1987 to 1999 and Concordia University, Montréal, from 1999 to 2019. In 2019 Musée d’art contemporain de Montréal mounted a monographic exhibition Janet Werner. Previous to that from 2013-2015 a solo survey exhibition of her work Another Perfect Day, organized by the Kenderline Art Gallery, University of Saskatchewan, toured to five locations in Canada, including the Esker Foundation, Calgary; the McIntosh Gallery, Ontario; Galerie de l’UQAM, Montreal; and the Doris McCarthy Gallery, Toronto.

Recent gallery exhibitions include Anat Ebgi, Los Angeles, CA; Almine Rech, Paris, France; Kasmin Gallery, New York, NY; Gallery 12.26, Dallas, TX; Bradley Ertaskiran, Montréal, QC; and Arsenal Contemporary, New York, NY. Her works are in the collections of the National Gallery of Canada, Ottawa, Ontario; Musée du Québec; Musée d’art contemporain, Montreal; The Art Gallery of Ontario (AGO), Toronto; Canadian Embassy in Berlin; University of Lethbridge, Alberta; Winnipeg Art Gallery, McEvoy Foundation for the Arts, San Francisco, CA; and numerous private and corporate collections. Her forthcoming solo exhibition, Landscape With Legs, will take place at Anat Ebgi in New York in May 2026. Werner lives and works in Montréal, Québec.

The recent publication Sticky Pictures, co-published by Griffin Art Projects and Figure 1 in collaboration with the Musée d’art contemporain de Montréal, surveys the last seven years of Werner’s painting practice.

An Te Liu’s sculptures take their origins from everyday objects designed to protect and enhance and, through his interventions, are transformed into sensual biomorphic forms that are at once familiar yet uncanny. Working in bronze, ceramic, and steel sculptures his sculptures are often composed and cast from foam packing materials, sports equipment, and other collected relics from the artist’s life. Citing the history of Modernism and its hubristic desire for purity and refinement, Liu’s transgenerational signals of the body and memory mutate and devolve. His works serve as explorations of progress, improvement, and provocations of what it might mean to achieve one’s peak physical form or “optimum condition” through time. A Pulcinella of sculpture, the works proffer multitudes of identities willfully embodying a paradox.

An Te Liu (b. 1967, Tainan, Taiwan) received his Masters in Architecture from the Southern California Institute of Architecture in Los Angeles and his BA in Art History at the University of Toronto. Working predominantly within sculpture and installation, Liu’s work has been exhibited in venues including the Witte de With Center for Contemporary Art, the Louisiana Museum of Modern Art, Ursula Blickle Stiftung, the EVA Biennial of Ireland, the Venice Biennale of Architecture, and the San Francisco Museum of Modern Art. His works are included in the permanent collections of The San Francisco Museum of Modern Art, The Louis Vuitton Foundation, The Art Institute of Chicago, The National Gallery of Canada and The Art Gallery of Ontario. His forthcoming solo exhibition will take place at Anat Ebgi in New York in November 2026. Liu lives and works in Toronto, Canada.

Considering heritage and homeland, Palestinian-American artist Jordan Nassar’s embroidery-focused practice has expanded over the years to include furniture, metal, wood inlay, glasswork, and mosaic drawing from techniques and materials rooted in traditional Levantine crafts. Though materially varied, these bodies of work are unified by the artist’s depictions of imaginary Palestinian landscapes as well as his painterly considerations of color and composition.

Nassar’s meticulously hand stitched landscapes are carefully mapped-out patterns juxtaposing regional motifs of flowers and stars with imagined landscapes in a way that breaks with and expands upon the thousands of years old tradition. Adaptive and evolving, his works are rooted in a linguistic and geopolitical field of play characterized by both conflict and unspoken harmony. Nassar continues to push against the inherent gridded structure of his embroidery cloth. Though he shifts the colors between multiple panels that comprise a single work—from tangerine to rust to goldenrod—he allows the wandering line of a hillside or mountain range to continue.Nassar’s dreamed landscapes collapse distance, casting the gaze toward imagined horizons.

Jordan Nassar (b. 1985, New York, NY) earned his BA at Middlebury College. His work has been featured in solo and group exhibitions globally at institutions including the Whitney Museum of American Art, New York, NY; Museum of Contemporary Art, Los Angeles, CA; Institute of Contemporary Art/Boston; Asia Society, New York, NY; Princeton University Art Museum, Princeton, NJ; Museum of Arts and Design, New York, NY; Katonah Museum of Art, Katonah, NY; KMAC Museum, Louisville, KY; Center for Contemporary Art (CCA) Tel Aviv; Anat Ebgi, Los Angeles, CA; James Cohan Gallery, New York, NY; and The Third Line, Dubai, UAE. 

Nassar’s work has been acquired by museum collections including the Whitney Museum of American Art, New York; Dallas Art Museum, Dallas, TX; Buffalo AKG Art Museum, Buffalo, NY; Institute of Contemporary Art, Miami, FL; The Los Angeles County Museum of Art, California; The Museum of Contemporary Art, Los Angeles, CA; and Rhode Island School of Design Museum, in Rhode Island, among others. His forthcoming solo exhibition will take place at Anat Ebgi in Los Angeles in September 2026. Nassar lives and works in New York, NY.

Alec Egan’s oil paintings of quiet, cockeyed scenes lead viewers to the razor’s edge of idylls. Saturated sunsets, crashing waves, or clean bright bedrooms are subtly askew and hauntingly deserted; human narrative is inserted through architectural elements such as windows, apartment buildings, or parking lots. Egan’s approach to beauty is expressed through conflicting and layered wallpapers, fabrics, flowers, and foodstuffs; the clash is surreal and psychological. Despite the mundane status of his subjects—from waxy oranges resting on a windowsill to a discarded sock on the floor, Egan’s humdrum daily settings are a colorful feast of dense pattern and thick impasto, whose mysteries yield through prolonged looking.

Alec Egan (b. 1984, Los Angeles, CA) completed his MFA at Otis College of Art and Design in 2013, and received a BFA in creative writing and poetry from Kenyon College. Recent solo exhibitions include Drawing Room at Brattleboro Museum and Art Center, Brattleboro, VT; Blue Setting, Charles Moffett, New York, NY; Look Out, Anat Ebgi, Los Angeles, CA; and Miro’s Corner, MAKI Gallery in Tokyo, Japan. His work has also been exhibited in group and solo exhibitions at Almine Rech, Paris, France; Dubuque Museum of Art, Dubuque, IA; California Heritage Museum, Santa Monica, CA; Torrance Art Museum, Torrance. His works are in the permanent collections of the Los Angeles County Museum of Art and the Institute of Contemporary Art, Miami. Egan lives and works in Los Angeles, CA.

Jibade-Khalil Huffman is an artist and writer whose video and photo works use found, archival material and contemporary ephemera to address slippage in memory and language, particular to race and visibility. Lyrical strophes of text and densely-composed imagery produce objects of perpetual flux, indexed by accumulating layers which challenge normative symbolic and semiotic hierarchies. Through projection and repetition, Huffman’s work evokes the untranslatable, ruminating on the liminal qualities of singular experiences through narrative and graphic rhythms.

Recent solo museum exhibitions include Brief Emotion, Frac Bretagne, Rennes, FR; You Are Here, Halsey Institute of Contemporary Art Charleston, SC; and Now That I Can Dance, Tufts University Art Gallery, Tufts University, Medford, MA. Huffman’s work has also been exhibited at museums and institutions including Wexner Center for the Arts, Ballroom Marfa, The Kitchen, MoCA Tucson, Swiss Institute, New York, Portland Institute of Contemporary Art, The Jewish Museum, Institute of Contemporary Art, Philadelphia, The Studio Museum in Harlem and the Hammer Museum.

Huffman was educated at Bard College (BA), Brown University (MFA, Literary Arts), and USC (MFA, Studio Art), his awards include the Grolier Poetry Prize, the Jerome Foundation Travel Grant and fellowships from Bemis Center for Contemporary Arts, the Lighthouse Works, Lower Manhattan Cultural Council and the Millay Colony for the Arts. Huffman was a 2015-16 Artist in Residence at the Studio Museum in Harlem. His work is in the permanent collections of Dallas Museum of Art, Dallas, TX; Hammer Museum, Los Angeles, CA; Kadist, San Francisco, CA/Paris, FR; Pierce & Hill Harper Arts Foundation, Detroit, MI; Studio Museum in Harlem, Harlem, NY; and Tufts University Art Collection, Medford, MA. Huffman lives and works in Los Angeles, CA.

Ever-exploratory and idiosyncratic, Samantha Thomas’s work begins with color, shape, texture, line, space, and light, the primary building blocks of painting. Using common studio materials such as raw canvas, thread, and acrylic paint, she embraces their fundamental and distinct qualities to expose their limits and possibilities for expression. Jagged extrusions, folded thresholds and frenetically woven strands of thread transform her canvases into paintings that are, at once, physical, architectural and sculptural. Experiments in the potential of color; ruched reflections on the subtleties of shifting light and shadow; and defiantly contesting the inherent flatness and regularity of canvas from which they are constructed; Thomas’s work speaks to the language and legacy of abstract painting and drawing.

Samantha Thomas (b. 1980, McAllen, Texas) received her BFA from the Art Center College of Design, Pasadena, CA. Her work has been exhibited in solo and group exhibitions at Anat Ebgi, Los Angeles / New York; LAXART, Los Angeles, CA; Maccarone Gallery, Los Angeles, CA; Peter Blake Gallery, Laguna, CA; and Mike Weiss Gallery, New York, NY. Thomas lives and works in Los Angeles, CA.

Martin Basher’s painting and sculptural work is situated in the lineage of display-based artistic practices. Working with the languages of retail and advertising, Basher explores the emotional charge of common objects and images. From his trademark paintings of gradated stripes and photo-real beaches to sculptural installations serving as displays for consumer goods, Basher activates spaces of sublimated psychological desire, at once familiar and strange for the altered retail scenarios they present. In these complex displays, Basher invokes unspoken drives, and the mundane and exclusive, the highbrow and lowbrow, and the public and private impulses that inform us as consuming individuals.

Martin Basher (b. 1979, Wellington, New Zealand) holds a BA (2003) and MFA (2008) from Columbia University in New York and a DocFA (2018) from the University of Auckland in New Zealand. Basher’s work has been shown internationally at galleries and public institutions including the University of Connecticut; Art In General; Auckland Art Gallery; and Starkwhite, Auckland; Brand New Gallery; and The Public Art Fund. Basher lives and works in New York City.

Amie Dicke is an image defacer. Her interventions dissolve, blot, and distort the appearance and surface of her source material. Her intuitive and judicious destruction directs our focus to specific off-beat details, such as a gap between the legs, or a lumpy bedspread. An acute observer, she detects some underlying possibility in an image that she can alter, erase, subdue or enhance resulting in a new picture, with new stability achieved through the conflict and balance of slippery forces.

Whether caked with lipstick or liquid foundation, or brutally buffed away with sandpaper, Dicke’s process is located in responding to something emotional and raw she finds in her imagery sourced across different genres, from fashion magazines to Bauhaus catalogues to art historical painting. Muse and victim these icons are inflicted with traces of Dicke’s bodily action, her sandpaper abrasions scar the surface-image. Small repeated gestures of deconstruction, allow something to emerge, sometimes softer, sometimes sharper. Her deletions create space and distance, to observe with newfound physicality and presence.

Amie Dicke (b. 1978, Rotterdam, Netherlands) rose to prominence in the early 2000s after a period of living and working in New York City, where she literally defaced the advertising imagery of Madison Avenue, obscuring the features of famous models and driving nails through glossy publications. Some of these publications subsequently commissioned Dicke to contribute to their pages including Vogue, Numero, V Magazine, and Visionaire.

Since then, Dicke has exhibited her work internationally in venues such as Schirn Kunsthalle, Frankfurt, Germany; Tate Modern and Project Space 176 in London; FLAG Art Foundation, New York; Art Centre Silkeborg Bad in Denmark; and Anat Ebgi, Los Angeles, CA. Recent solo exhibition history includes: Centraal Museum at Landhuis Oud Amelisweerd, Utrecht, Netherlands; EENWERK, Amsterdam, Netherlands; ONE-LINER, Anat Ebgi, Los Angeles, CA; GEM Museum of Contemporary Art, The Hague, Netherlands; and Hiromi Yoshii Gallery, Tokyo, Japan. Her work is included in several major collections including Gemeentemuseum The Hague, Collection Rob Defares, Direct Art Collection, the Zabludowicz Collection, Collection Rik Reinking, Takashi Murakami and the City Collection of Rotterdam through the Museum Boijmans van Beuningen. Dicke lives and works in Amsterdam, Netherlands.

Elias Hansen’s work involves hand-blown glass objects that convey a regularity not unlike that of a mass-produced process. Hansen’s installations, comprised of an assortment of pipettes, flasks and beakers alongside rough-cut wood, rubber tubing and light bulbs, are interrelated in arrangements that reference the fragility of both the precious and the discarded, the authentic and the reproduced. The precarious composition of his installations is both spatial and formal. Jagged wood elements intrude into the exhibition space, upon which glass objects are uneasily displayed, suggesting impending shatter. This anxiety within Hansen’s work undermines the traditional narrative of sculpture, subverting its high art status as a flux between discarded context and admired form.

 

EXHIBITIONS

Not Right Now, November 4 – December 16, 2017

I’m a long way from home and I don’t really know these roads, January 11 – February 22, 2014

We barely made it, January 21 – February 25, 2012

Next time, they’ll know it’s us, January 21 – February 26, 2011

Predicting the Present, January 14 – February 28, 2010

Jason Bailer Losh’s work embraces the distinct history of found objects as a subject and material to discuss class, labor, and craft. Composed from a supply of everyday objects sent to him by his father-in-law, Losh’s sculptures are also monuments to family lore and personal memories, which he harnesses for the purpose of exploring larger cultural questions. Through his unique sequences and arrangements, Losh’s common, commercial, and domestic objects such as chair legs, faux fruit, or decorative bowls are exposed of their sculptural, formal and physical dimensions provoking a sense of intimate familiarity. In a recent return to painting, Losh’s current works incorporate his own sculptures and materials into domestic interiors reflecting on narrative, nostalgia, and preservation of memory. By offsetting these compositions on the canvas, Losh challenges notions that idealize the past and contests popular representations of ‘the American dream.’

Jason Bailer Losh (b. 1977, Denison, Iowa) received his MFA from School of Visual Arts, New York.His work has been exhibited at such institutions as LAXART, Los Angeles; Socrates Sculpture Park, New York; FLAG Art Foundation, New York; and Fairview Museum of Art and History, Fairview, Utah. He has had solo exhibitions at Anat Ebgi, Los Angeles; ZieherSmith, New York; and Control Room, Los Angeles. He has participated in group exhibitions including ‘Rockaway!’, organized by Klaus Biesenbach at PS1/Rockaway Surf Club, New York; ‘Soft Target’, curated by Phil Chang and Matthew Porter at M+B Gallery, Los Angeles; and ‘Building Materials’, curated by Lucas Blalock at Control Room, Los Angeles. Losh lives and works in Connecticut.

Neil Raitt’s surreal landscapes test limits of reality and artificiality. His paintings depict impossible horizons and forego the idea of an original relationship to a real or even specific place. Terrains, climates, disparate geographies are all mixed together becoming a portal to an emotional or psychological space. Their impossibleness acts almost as a parody or critique of traditional sea and landscapes and argues for the possibility of fresh perspectives. Free from nostalgia and lamentation of fading natural beauty, Raitt’s landscapes have a mythological quality conveyed both through the saturated intensity of his color and the particularity of his perspective.

Neil Raitt (b. 1986) received his MA from the Royal College of Art, London in 2013. Over the past ten years he has been included in solo and group exhibitions at Anat Ebgi, Los Angeles, CA; Galerie Judin, Berlin, Germany; Nicelle Beauchene, New York, NY; The Cabin, Los Angeles, CA; Chez Valentin, Paris; Choi & Lager, Cologne; The Hole, New York, NY; and Lin & Lin Gallery, Taipei, Taiwan. His work has been exhibited at institutions including the Centre d’art contemporain La Halle des bouchers, Vienne; Villa Du Parc centre d’art contemporain, Annemasse; the DePaul University Art Museum, Chicago; and the Goss-Michael Foundation, Dallas. He was the recipient of the Northern Trust Acquisition Prize, 2016 and the Catlin Art Prize, 2014. His work is in the permanent collections of Los Angeles County Museum of Art (LACMA), Los Angeles, CA; DePaul Art Museum, Chicago; Saatchi Collection, London; and Frank-Suss Collection, London. Raitt lives and works in London.

For over two decades, Sandström has concerned herself with the surface of the canvas, exploring one of the oldest motifs in painting: the landscape. Though abstract, her works are reminiscent of landslides, melting glaciers, and celestial phenomena. Stripping painting back to its basic element: paint applied to surface, Sandström explores endless techniques and variations—staining, pooling, brushing, smearing, seeping, and an inventive printing gesture where Sandström coats crumpled material with paint and presses it to the canvas, leaving behind a contact print.

Sigrid Sandström (b. 1970, Stockholm, Sweden) studied at Cooper Union School of Art, New York, NY (1995); earned a BFA at Academie Minerva, Groningen, The Netherlands (1997); attended Skowhegan School of Painting and Sculpture, Skowhegan, ME (2000); and received an MFA in Painting from Yale University, New Haven, CT (2001).

Residencies, grants and fellowships include Brown Foundation Fellows Program at the Dora Maar House, Ménerbes, France (2018), The Royal Swedish Academy of Fine Arts residency scholarship at Grez-sur-Loing, France (2014), The 2008 Painters and Sculptors Grant from the Joan Mitchell Foundation and the John Simon Guggenheim Memorial Foundation Fellowship, New York (2008). Sandström was a recipient of a Core fellowship at the Museum of Fine Arts, Houston (2001-2003).

Sandström’s work is in the public collections of the Museum of Fine Arts Houston, Houston, TX; Moderna Museet, Stockholm, Sweden; Borås Konstmuseum, Borås, Sweden; Malmö konstmuseum, Malmö, Sweden; The Public art Agency, Sweden; Ulrich Museum of Art, Wichita, KS; Västerås konstmuseum, Västerås, Sweden, and Yale University Art Gallery, New Haven, CT.

Sandström has previously held positions as a professor at the Academy of Fine Arts, University of the Arts, Helsinki (2020-2025), the Royal Institute of Art in Stockholm (2010-2020), and an Assistant Professor at Bard College, New York (2005-2010). Sandström lives and works in Stockholm, Sweden.

Primarily working with painting and collage, Jay Stuckey creates compositions of familiar images using representational and abstract elements. The humor and accessibility of Stuckey’s work is counterbalanced by each piece’s hidden intricacy and purpose. Referencing his own subconscious and the confessional nature of Jungian psychoanalysis, Stuckey intends the immediacy of his work to present a line of inquiry and revelation to the viewer instead of imposing ideas. Stuckey intends his works to reveal themselves with subtlety and action, instilling the perseverance of his ongoing process.

Jay Stuckey (b. 1968, Washington, D.C.) lives and works in Los Angeles. Stuckey received his MFA from the School of the Art Institute Chicago, and BFA from Brown University. He has exhibited internationally at venues including The Cedars, Texas; Abel Raum für Neue Kunst, Berlin; Institut Franco-American, Rennes; Eric Firestone Gallery, New York; Palmetto Center for the Arts, San Antonio; Minnesota Street Project, San Francisco; Deutscher Kunstlerbund, Berlin; Blank Projects, Cape Town; Goethe Institute, Johannesburg; Green Papaya Art Projects, Manila; Pøst Gallery, LA, 16:1 Gallery, Santa Monica and Axis Gallery, Sacramento. He is included in the public collections of the Museum of Contemporary Art, Los Angeles, CA and Collection Majudia, Montreal. He has lectured at Brown University, OTIS, and the Jung Institute.