Olivia Bax is a sculptor who brings things together, creating ensembles of found and made objects, held together by metal armatures, chicken wire, cardboard and paper pulp. Her handling of these materials runs with and departs from established sculptural processes, simultaneously constructing, welding and modelling, and using the metal armature both as an inner supporting structure and as an active component of the final sculpture itself, pushing through and out of the modelled paper pulp. As well as construct and model, Bax also paints, but rather than being applied at the end, her paint is mixed into the pulp from the very start. This means that she works with colour both as a painter and as a sculptor might, modelling colour as one might clay.

Bax has a preference for conduit forms, such as pipes, funnels, tubes, chutes and hoppers, that suggest ideas of passage and transferral while carrying directional energies with them. She also uses forms of containment such as pockets, socks, sacks, sachets, cup and vessel that suggest temporary and tentative ways of holding and enclosing things. Hooks, handles, holding devices and other tool and prop-like objects are also deployed, enabling her to link one thing to another, suggesting relationship and connection, while highlighting difference through juxtaposition. Her sculptural set-pieces read as nesting structures, curious habitats and modes of habitation, personal spatial-material orbits coordinated by techniques of the body, such as sitting, reaching, leaning, kicking, holding, resting and pulling.

-        Jon Wood, extracted from ‘Home Range’ exhibition text, Holtermann Fine Art, London, 2022

OliviaBax (b. 1988, Singapore) lives and works in London. She studied BA Fine Art at Byam Shaw School of Art, London (2007-2010) and MFA Sculpture at Slade School of Fine Art, London (2014-2016). 

Recent solo exhibitions include:Home Range,Holtermann Fine Art, London (2022);Spill,L21, Mallorca (2022);Off Grid,Mark Tanner Sculpture Award Exhibition, Standpoint Gallery London (2020) toured to Cross Lane Projects, Kendal (2020/21) and Tremenheere Sculpture Gardens (2021);pah-d'bah, HS Projects, London (2021) andChute, Ribot Gallery, Milan (2019/20). Recent group exhibitions include:Material Impressions: Artists & Paper, Larsen Warner, Stockholm (2022-23);Reflections: Part 3: Sculpture by Women Artists, Workplace, London (2022);Flock,BoLee and Workman, Somerset, UK (2022);Weeds Won’t Wither, Jari Lager Gallery, Cologne (2022);On the Other Hand, with Brooke Benington at Canary Wharf, London (2021) andGleaners:OliviaBax & HannahHughes, Sid Motion Gallery, London (2020/21). 

Prizes include: The Mark Tanner Sculpture Award (2019/20); Kenneth Armitage Young Sculptor Prize (2016), Additional Award, Exeter Contemporary Open, Exeter Phoenix (2017) and Public Choice Winner, Saatchi Gallery, London (2015). Bax’s work is part of private and public collections including: The Arts Council, The Ingram Collection and Tremenheere Sculpture Park.

Born in Colombia to an Italian family of agronomists and architects, Daniel Brusatin grew up very close to nature and was exposed from a very young age to the arts and design. He trained in The Academy of Fine Art in Florence with an emphasis in sculpture. His love for materials and production techniques took him to Milano to a second degree in design and applied arts. During his studies and at his arrival in London Brusatin worked for Brian Clarke where his love for stained glass, Ceramics and architectural art found mentorship.Always with a strong artistic practice his studio has moved from Florence and Milan to Paris and since 2013 is based in London.

Even though Daniel Brusatin’ work comprises diverse artistic disciplines: Sculpture, drawing, ceramics, stained glass and architecture; he has always kept painting as the central axis of his practice. it is throughout the relationship and conversation between these mediums that his work starts to shape up. Exploring visual language through semiotics, art history, traditional techniques and the act of making, Brusatin attempts to blur the arbitrary lines dividing the arts and encourages questions of fundamental phenomena as the relationship between the perpetual forces of nature and the hand of the artist, the curious case of ‘accidentality’ in a chaotically organized world and the role art plays in civilisation. 

Formally and Conceptually his work anchors the contemporary world in tradition, art history and the psychology of engagement creating a dialectic between materials and artistic expressions that serve as a catalyst to this visual poetry; based upon the idea that “beauty is not a characteristic linked to any particular thing but a state of understanding” Brusatin looks for common denominators, triggers, and expressions of primal relatability. Subjects often treated in his work are the relationship between abstract and figurative art, the conception of the work and the creation of an image in an era of careless mass-production and the importance of the artistic experience; the present and emotional engagement between the work and the viewer. 

Turning the subject matter into art itself this lines are dissolved and their effect multiplied. For Brusatin to define is to limit and a practice in constant revision and experimentation becomes the only path to evolve the artistic language

Intimate Immensity, 2025 Oil, Gesso on Burlap Collage 200 x 300 cm 

Totem, 2024 Victorian Railway Oak Sleepers 259 x 25 x 15 cm each

Entropy and Intent, 2022 Oil, Gesso on Burlap 160 x 120 cm 

Rendez-vous, 2022 Oil, Gesso on Burlap 160 x 120 cm 

Malaké, 2022 Oil, Gesso on Burlap 160 x 120 cm 

Woven Language, 2020 Oil, Gesso and Burlap on Canvas 180 x 90 cm 

Poetic Weave, 2019 Oil, Gesso and Burlap on Canvas 180 x 90 cm 

The Flower is Always in the Almond, 2024 Venetian Glass and Carrara Marble 100 cm diameter 

KOMOREBI DB.pdf

Guy Haddon Grant's monochromatic sculptures and drawings lie at the boundary between abstraction and figuration.

Haddon Grant (1986), born in London, started his studies in Camberwell College of Art before moving to Florence, Italy for two years to study the renaissance masters and their techniques. He works in charcoal, candle soot, wax, plaster, steel and wood; creating enigmatic works with a narrative that informs one another.

Haddon Grant has exhibited widely in solo and group exhibitions notably the Bloomberg New Contemporaries at the ICA and the Liverpool Biennial. He has also exhibited at the British Figure at Flowers Gallery and has held two solo shows Apophenia at the Royal College of Art and Dust and Shadows at Karavil Contemporary.

Manabu Mabe's artistic journey unfolds against the backdrop of his upbringing in Kumamoto, Japan, where he was born on September 14, 1924, to Soichi and Haru Mabe. The family's migration to Brazil in 1934, seeking opportunities in the coffee plantations of Lins, São Paulo, marked the beginning of Mabe's immersion into the rich tapestry of landscapes that would later influence his artistry. It was during his formative years amidst the verdant fields, particularly on rainy days, that Mabe found solace and inspiration in capturing the natural beauty of his surroundings through painting.

As Mabe matured, his passion for art deepened, leading him to embark on a journey of self-discovery through the exploration of art books and magazines in 1941. Guided by the expertise of painter and photographer Teisuke Kumasaka in 1945, Mabe honed his craft, mastering the techniques of canvas preparation and paint dilution. These foundational skills would form the bedrock of his artistic expression, allowing him to translate his unique vision onto the canvas.

The turning point in Mabe's artistic development came in 1951 when he encountered works from the esteemed Paris School at the 1st International Biennial of São Paulo. This encounter ignited a transformative shift in his approach to art, propelling him towards abstraction and away from the geometric forms of his earlier works influenced by cubism. By 1959, Mabe's abstract compositions garnered critical acclaim, earning him the prestigious Leirner Prize for Contemporary Art and catapulting him into the international spotlight, with TIME Magazine dubbing him "The Year of Manabu Mabe." His artistic development continued to flourish, earning him further accolades such as the "Best National Painter Award" at the 5th International Biennial of São Paulo and the "Fiat Prize" at the Venice Biennale in 1960. 

Mabe's legacy transcended borders, with his works featured in solo and group exhibitions across Latin America, Europe, Japan, and the United States, cementing his status as a seminal figure in Brazil's vibrant art scene.

Installation view of 'Inaugural Exhibition'. NISO, London, March 2024. 

Untitled, 1971 Gouche on Cardboard 35,5 x 50,5 cm

Untitled, 1969 Oil on Canvas 100 x 140 cm 

Hitoshi Nakazato (1936-2010) was particularly active in the field of printmaking in the 1960s. He studied at the prestigious Tama University of the Arts in Tokyo in 1960, went to the United States in 1962 to continue his studies at the University of Wisconsin and at the University of Pennsylvania where, under the tutelage of Piero Dorazio, he drew inspiration from printmaking techniques and systems engineering to pursue abstract painting. “Why paint? “What would a painting that rejected conventional concepts of painting look like?”. Nakazato had “a burning desire to paint” but “no interest in pictorial conventions”.

He sought to redefine the act of making by introducing into the painting process elements that were born of Japanese industry and architecture and were essential to them, such as the sumitsubo, a Japanese line marking tool. His characteristic monochromatic works of 1968-1971 are composed entirely of straight lines and were the starting point for the development of his practice. The use of colour “beyond the lines” would make a “comeback” in the mid-1970s.

This brought him international institutional recognition. Edward F. Fry, co-curator of the exhibition Contemporary Japanese Art: 5th Japan Art Festival in 1971 at the Solomon R. Guggenheim, recounted: “I knew immediately that I was in the presence of an extremely gifted artist of unique talent: someone who, with the slightest stroke on the canvas, seemingly without effort, could give birth to a sonorous polyphony of visual intensity and pure feeling”.

Ichinchiani Series, 1970 174.2 x 183.5 cm

Installation view of "Nakazato, Brusatin" October 2023 NISO, Paris.

Installation view of "Nakazato, Brusatin" October 2023 NISO, Paris

A virtuoso in portraiture and travel painting – Proctor’s mostly autobiographical works freely depict the artist’s surroundings. Delicate renderings in watercolour relate quotidian scenes ranging from the landscapes he encountered on his bohemian wanderings from the Middle East to Asia “Kyoto, Golden Temple, Rain” (1991) to the intimate portraits of friends, lovers and colleagues made from the comfort of in his living room “Portrait of Richard Buckle” (1968), “Peter Hinwood”(1969). A chronicle of daily life as an artist, a dandy, and an integral member of the swinging sixties, Procktor’s honest reflections deeply resonate with the modern-day documentation of life in the digital Age.

Marked by a unique and understated painterly language that blends traditional and contemporary influences – Procktor’s portraits reveal a subdued and pasty palette and lingering atmosphere redolent of the pre-pop ‘Euston Road’ artistic movement, combined with an audacious use of white space that parallels the aesthetic modernity of the time. Marked by a non-hierarchical way of seeing, extraneous detail is opted out, figures carefully poised within the white space of the paper - some with mannerist distortions – coming together in a gentle and elegant quality that is muted in its transparency and deliberate areas of unpainted surface.

Balanced with an equal measure of finesse and flair – the subjects of Procktor’s portraits unveil a colourful melee of artists, musicians, designers, photographers and socialites that relay to the audience a generational snapshot of the milieu of art, theatre, fashion and rock music the artist inhabits.

Among them, some of the greatest figures of the era as well as many queer icons such as his friend the artist David Hockney and fashion designer Ossie Clark, interior designer Christopher Gibbs, Richard Beer, Peter Schlesinger, Mo McDermott, David Gwinnett, Francis Bacon, Mick Jagger, Jimi Hendrix, and Cecil Beaton; making up an almost complete cast of the ‘swinging’ London of the 60s and 70s.

Seemingly unguarded, Procktor’s portraits and renderings show a recurring - almost voyeuristic - depiction of the male figure – as carefree bodies recline half- naked “Brittas Bay” (1968), baking in the summer heat in parks “Lawn” (1975), or on the decks of boats “Tropic of Cancer”(1974). Conjuring airs of queer eros and nonchalance, these epitomise much of the liberal revolution of the time, where accepted norms of behaviour, sexual and otherwise, were being jettisoned for a new age of social freedoms.

A charismatic dandy renowned for his Wildean theatricality and wit, Procktor was one of the UK’s most controversial and enigmatic figures. Spanning several decades, his work compassed diverse styles and mediums, subject to significant acclaim as well as controversy over his lifetime. First gaining recognition the year after his graduation, his first show at the Redfern was a sell-out before it opened. The following year, Bryan Robertson selected him for the seminal 1963 exhibition “New Generation” at the Whitechapel, exhibiting his early paintings – dynamic, abstract depictions of the male nude – alongside those of the most promising artists of his time Patrick Caulfield, John Hoyland, Bridget Riley and David Hockney. With subsequent tendencies that included the out-of-vogue medium of watercolour, paired with the thematic monotony of his 1968 ‘One Boy Show’ fiasco - Procktor’s acclaim would never reach that of his close friend and muse David Hockney. By the mid-90s, doomed by alcoholism and a series of personal disasters that included a fire that destroyed his home and much of his art, brief spells of incarceration and homelessness quickly ensued, blighting the later years of his life.

Today, his prints, watercolours, and oil and acrylic paintings sit in private and public institutions including the British Museum, the Tate, the National Portrait Gallery, The Los Angeles County Museum, the Metropolitan Museum (NY), and the MoMA (NY), subject to a particular resurgence since the publishing of Ian Massey’s major monograph “Patrick Procktor: Art and Life” in 2010. Spotlights include Tate Britain's survey show of watercolourists in 2011 and Queer British Art exhibition in 2017, as well as his acclaimed retrospective at Huddersfield Art Gallery in 2012, and the eponymous exhibition at Palazzo Bentivoglio (Bologna) “A View From A Window” in 2022.

Martina Quesada, born in 1987, lives and works between Buenos Aires and Paris. Quesada has explored how meaning is constructed from various societal perspectives, often questioning our ways of seeing and remembering. She seeks to move beyond social dogmas and challenge what appears certain and unchanging. Her practice encompasses sculpture, installation, and video, frequently employing simple geometric systems to investigate the interplay between the visible and the invisible, as well as the transitional spaces where transformation occurs. Through her research, she aims to disarticulate functional viewpoints and foster new ways of perception. Her works are featured in both institutional and private collections, including the MACBA and MALI museum.

CV BIO STATEMENT.pdf

Lectura de una aparición y una huída, 2022 Pigment, paper, glass and wood 40 x 340 cm 

The borders are fragile II, 2023 Pigment, gesso, marble dust, Argentinian native plants, wood on canvas 142 x 217 x 4 cm 

Mateo Revillo, born in Spain in 1993 and currently based in Paris, creates a body of work that explores the concept of long-lasting forms. His practice spans across painting, sculpture, and various other mediums, including architectural and land interventions. His work invite a perspective on life, art-making, and exhibition as a continuous, evolving process—one that can be reimagined, much like how humanity has engaged with certain elements for millennia.

Revillo draws from contemporary abstraction as well as the art and cultures of other periods and civilizations. Despite this historical influence, his work reflects a raw, urgent energy, capturing the intensity of the modern world. The materials and surfaces he uses convey a sense of vitality and depth, blending the immediate with the ancient. His approach is akin to that of a future archaeologist, where drawing, painting, sculpting, breaking, recomposing, and transforming all play a part in constructing a multifaceted narrative. With a subtle baroque influence, Revillo's works create scenarios that navigate between precise architecture and expansive, open environments. These pieces act as gateways to archaeological digs where ruins, not yet part of any defined history, are waiting to be uncovered.

Over the past decade, Revillo has developed signature artifact-paintings that resemble architectural fragments or accidents. These pieces—composed of lime-like surfaces—unfold like the wings of a polyptych, drawing connections between ancient frescoes and the disruption of the rectangular canvas, an idea explored by early Minimalists. They evoke the feeling of wall gaps, remnants from an indeterminate time, or glitches in photographs, echoing the interventions of artists like Gordon Matta-Clark.

Through these works, Revillo creates an atmosphere suspended in a time that isn't quite defined but may be. In the words of Walter Benjamin, "Each era dreams of the next," and the "shards" in his artifact-paintings embody this notion, presenting a world full of infinite possibilities. The interruption and rupture in his work aren’t endings, but rather transitions that open up various paths—some gentle and peaceful, others more aggressive or even violent, much like the Mediterranean basin that profoundly influences his art.

With a background in social sciences, Revillo brings an anthropological perspective to his artistic practice, viewing art as an artifact and a means of expression. His commitment to this idea extends beyond his individual work, having founded the exhibition-oriented research group La Méditerranée in 2020. Through this initiative, he further merges architectural and curatorial endeavors with his artistic vision, creating a platform for the exploration of cultural, historical, and social narratives.

Teatro, 2024 Encaustic and casein paint on cement and plasterboard, wood.

Sawako Nasu (Tokyo, b. 1998) lives and works in Tokyo, Japan. The artist holds a BFA and MFA from the Tokyo University of Arts. Solo exhibitions include: Sunny, Rainy at Biscuit Gallery, Tokyo, Japan (2023); Slipped Moonlight, Ginza Tsutaya Books, Tokyo, Japan (2022); To the Lighthouse, myheirloom, Tokyo, Japan (2022). Recent group exhibitions include: Biscuit Gallery 3rd Anniversary Exhibition「grid3」, Biscuit Gallery, Tokyo (2024); Inaugural Group Exhibition, NISO, London (2024);「Selection」, KEN NAKAHASHI, Tokyo, Japan (2024); Draw Lines & Shapes in My Maps, Taka Ishii Gallery Maebashi, Maebashi, Japan (2023).

Landscape n.1, 2024   120 x 170 cm   Oil on Canvas

Landscape n.2, 2024   80 x 100 cm   Oil on Canvas

Landscape n.3, 2024   56 x 74 cm   Oil on Canvas

Landscape n.4, 2024   56 x 71 cm   Oil on Canvas

Landscape n.5, 2024   56 x 71 cm   Oil on Canvas

Landscape n.6, 2024   56 x 71 cm   Oil on Canvas

Installation view of Vestige, NISO, London, September 2024.

Portrait of A Man n.1, 2024   50 x 41 cm   Oil on Canvas 

Portrait of A Man n.2, 2024   40 x 31 cm   Oil on Canvas 

Portrait of A Man n.3, 2024   40 x 31 cm   Oil on Canvas 

Portrait of A Man n.4, 2024   40 x 31 cm   Oil on Canvas 

Portrait of A Man n.5, 2024   40 x 31 cm   Oil on Canvas 

Portrait of A Man n.6, 2024   40 x 31 cm   Oil on Canvas 

Portrait of A Man n.7, 2024   40 x 31 cm   Oil on Canvas 

"The letter, constantly transformed and deconstructed, resists, revealing itself as indestructible... I thus associate what will be forever ignored with that which will remain indelible."

Born in 1925 in Berlin to a Jewish family, Max Wechsler was sent to Paris in January 1939. At the end of the war, having lost his family, he chose to remain in Paris, where he worked in various jobs before starting at Vaillant newspaper as an illustrator and graphic designer, a profession he practiced part-time until the early 1990s.

Starting in the 1950s, he began painting intensely—landscapes, portraits, compositions inspired by frequenting museums, where he drew influence from artists such as Paul Klee and Jean Dubuffet.

His first exhibition of these small-format works took place in 1959.

In the 1960s, he painted extensively in a surrealist vein, creating Fantastic Compositions made of "organic expansions [...] spirals, bulges, cracks..." according to Pierre Gaudibert, or "symbolic figures bearing witness to a work of suffering," in the words of Alfred Paquement. These works were exhibited at the Musée d’Art Moderne de la Ville de Paris during the ARC's first event in 1968.

He voluntarily stopped painting from 1973 to 1977.

After this break, he permanently abandoned figuration in favor of abstraction, which he would never leave. He produced series of works on canvas where he explored material: projections, striated surfaces, lacerating gestures, a new gestural approach.

In 1984, there was a new rupture. He abandoned the canvas stretcher for large works on canvas incorporating collages of various materials—papers, newspapers—creating a dense and thick material, which he titled Recouvrements papiers (Paper Coverings). These large formats were inspired by the space of the studio he acquired in 1985 in the Bastille district in Paris, where he would work until the end of his life.

Starting in 1990, his creative process focused on a single material: print. Through reductions, enlargements, and extreme distortions of typographic characters, he transformed all kinds of writings to create a universe where only the memory of the letter remained. The question of the series was posed by the process of infinite reproduction.

Expansion of illegibility, without edges or center, from deep black to white, luminous spaces where the material generates color in variations that open to light —the other light, "the one that emanates from the work," according to Max Wechsler—where only the sign testifies to the permanence of the letter and its impossible disappearance. These are the Papiers marouflés (pasted papers) in very large and very small formats, "coverings and successive layers (that) form an archeology of memory," according to Dominique Dendrael.

Max Wechsler says: "The letter, constantly transformed, deconstructed, resists, revealing itself as indestructible... I thus associate what will be forever ignored with that which will remain indelible."

In the 2000s, Berlin welcomed the artist back to his hometown and held several major exhibitions in his honor: at the Jüdisches Museum Berlin, the Villa Oppenheim, the Galerie KunstbüroBerlin, and the Berlinische Galerie, to which he made a significant donation in 2010.

In Paris, he regularly exhibited at the Musée d'Art et d'Histoire du Judaïsme, where his donation was presented in 2017, at the Guislain-Etats d'Art Gallery, the ETC Gallery, the Dutko Gallery, and in Paray-le-Monial at the Musée du Hiéron, to which he also made a donation.

He created his last works in 2019 and passed away in Paris on May 12, 2020."

Untitled, 1998 Collaged paper on Wood 182 x 160 cm 

96-EMT-4, 1996 Collaged Paper on Wood 77 x 74 cm

Amanda Ziemele (b.1990) is a Riga-based artist who keeps her artistic practice open for different explorations. She is interested in the formal qualities of painting framed by the ways how context and form interact. Ziemele adapts to site-specific settings that trigger situational associations. As a result, interventions are formalised through the medium specific peculiarities whereby the spatial and aesthetic experience is mediated in humorous and sometimes paradoxical ways. Ziemele holds a BA degree in painting from the Art Academy of Latvia and has completed Diploma studies in Interdisciplinary and experimental painting at the Dresden Academy of Fine Arts where her Diploma project Gaining Ground received a Freundeskreis der HfBK Dresden prize as the best graduate’s project. Amanda Ziemele represented Latvian Pavilion in the Arsenale O day and night, but this is wondrous strange and therefore as a stranger give it a welcome at the 60th Venice Biennale (2024). Amanda Ziemele is a recipient of the Purvītis Prize 2021 granted for her solo exhibition Quantum Hair Implants on view in the Great Hall of the Latvian National Museum of Art in Riga. As part of the Prize, she developed the solo show Sun Has Teeth (2023) at the Cupola Hall of the Latvian National Museum of Art. Since 2016, Ziemele has held several solo exhibitions and has been engaged in various collaborative projects as well as actively participated in exhibitions including Duo Show (Ana Gzirishvili, Amanda Ziemele) at Polina Berlin Gallery, New York (2023), From “Abstraction” to Abstraction at Fundacja Stefana Gierowskiego, Warsaw (2022), Lazybones at Natalia Hug Gallery, Cologne (2021), Riga Notebook. Following the Lines of Wacław Szpakowski, Muzeum Sztuki, Łódź, Poland, (2021), Quantum Hair Implants at Kim? Contemporary Art Centre, Riga (2019) Being Like a Sponge, Candyland Gallery, Stockholm (2018), Crocodile Dilemma, 427 gallery, Riga (2016), among others. Amanda’s work can be found in several collections in Latvia and abroad, including the Latvian National Museum of Art, the VV Foundation and the Zuzāns Collection, Rīga.

Amanda Ziemele (EN)2025 (1).pdf

Funnel, 2024 Oil on Canvas 234 x 170 x 60 cm Photography: Liga Spunde

Close Your Eyes, 2024 Oil on Canvas 220 x 413 x 120cm Photography: Liga Spunde

Cool as a Cucumber, 2024 Oil on Canvas 261 x 365cm Photography: Liga Spunde

Morning, Sunshine!(Pottering Along), 2024 Oil on Canvas 377 x 651 x 122cm Photography: Liga Spunde

Double Crisp, 2024 Oil on Canvas 260 x 206cm Photography: Liga Spunde

Installation view of O day and night, but this is wondrous strange...and therefore as a stranger give it welcome, 60th Venice Biennale, Latvian Pavillion, April 2024. Photography: Liga Spunde