Cadogan Gallery: A Group Exhibition

Through energetic, gestural abstraction, Elise Ansel translates Old Master paintings into a contemporary visual language. Setting aside the narrative and pictorial elements of art historical imagery, Ansel liberates colour and form, creating room for new interpretations. The representational content is transformed into a celebration of colour, gesture and the materiality of paint. In the process of reducing her inspirations to their most fundamental forms, Ansel retains their power and energy, replacing imagery with dynamic movement and dramatic colour and light. 

Old Master paintings were, for the most part, created by men for men. Abstraction allows her to interrupt this one-sided narrative and transform it into a sensually capacious, non-narrative form of visual communication, repurposing the patriarchal language and misogyny that dominates the history of art. Her retelling of these paintings is infused with the joy of interrupting history, replacing the past with raw expression and embracing multiple viewpoints.

Born in New York City in 1961, Ansel studied at Brown University before gaining her MFA in Visual Art at the Southern Methodist University. Her works have been exhibited in group shows and solo exhibitions across the United States and the UK, and are held in public and private collections worldwide. Her first exhibition with Cadogan, ‘Drawn from History’, was held in 2013. 

Born in Berlin, Kim Bartelt trained in Fine Art at Parsons School of Design, New York. After painting sets for commercial campaigns, she began to collect the discarded sheets of paper used in the set designs. She slowly began incorporating them into her art practice, making impossibly light, minimal collages that, through their delicate translucence, appeared to transcend their own materiality. 

Drawing on the language of geometric abstraction, Bartelt's work mediates on the ephemerality of our world and the hidden connections of contemporary human experience. Her use of a consciously restrained visual vocabulary, consisting of squares and rectangles, harnesses complex emotional states into seemingly controlled, harmonious compositions. Creating canvases that may at first appear solitary and silent, through contemplative engagement, reveal a pulsing inner landscape that captures the often fragile connection between the seen and the unseen, the permanent and transient.

Bartelt has been represented by Cadogan since 2020. Her works have been shown on an international scale, notably in Berlin, London, Mexico and Milan, and have been featured in numerous publications.

Growing up between council houses and the workshops of Oltrarno, Lorenzo Brinati was able to experience the last remnants of Renaissance Florence. In this environment of rich history and culture, Brinati first sculpted copies of Mogdigliani's heads at the age of fourteen, working with stone taken from the street at. Now working in both Florence and the Tuscan countryside, Brinati combines this education with more than two decades working as a conservator and restorer in the traditional workshops he grew up around. His paintings transform the skills of traditional Renaissance craftsmanship into a modern and yet timeless language, combining ancient techniques with new materials. 

As a sculptor, his style derives from an attention to nature and the harmony and rhythm in the architecture of his home while still looking east, drawing inspiration from his travels as a sailor in Greece and Turkey. His interest in the relationship between architecture and music, of sound and space, also informs his work. Returning to the primordiality of emotions, Brinati searches for completeness, purity and hidden luminosity in his works, satiating the senses and making the comprehensibility of the soul his unique goal. 

Moving to Florence at a young age Brinati grew up surrounded by the artisan workshops of the Oltrano district, experiencing the remnants of the city’s Renaissance history. He now works from his studio in the Tuscan countryside. Brinati has been represented by Cadogan since 2021, following his stay at the artist’s residency Numeroventi and the success of his joint exhibition at Cadogan, ‘Under a Dome’, curated by Martino di Napoli Rampolla. His works are widely collected across Europe and the US.

Primarily known for his textile works, Lawrence Calver's work incorporates a variety of fabrics, from cotton, silk and linen to suede and wool. Working within the idiom of modernist painting, he takes the material support – the canvas or the plane – and sews, bleaches, stretches or stains the fabric to create works that aim to unify abstraction and representation.

Calver is at his best working within a limited range of colour, preferring instead to exploit surface, texture and tonality. The grain of the textiles and their varying textures have their own beauty through which he conveys an atmosphere and delineation of form. He recognises opportunities in the material before he creates the work. The materials he chooses have a history; each piece has an independent identity, and Lawrence simply assists in its realisation. The artist regards his work as an organic process of experimentation and discovery, led by his materials on a journey of improvisation. He still regards his role in the work as a director, letting serendipity guide the final piece, or perhaps, visual performance of his evanescent cast.

Calver studied at BA level in creative direction of fashion at London College of Fashion. Since then he has used his experiences as a director to assemble work, in a similar way to a production or choreographed piece. He has completed multiple residencies and has exhibited throughout Europe and the USA, most notably with De Brock Gallery, Knokke, at Fondation CAB, Saint Paul de Vence, and Simchowitz Gallery, Los Angeles. He currently lives and works in London and has exhibited with Cadogan since 2023.

Clean and powerful, Gabriele Cappelli's abstract geometric forms bring together a sense of classical aesthetic and a contemporary approach to colour and line. His artworks contain an inherent sense of balance in their proportion, form and colour, distilling a universal aesthetic language into its purest form. Cappelli has always been interested in the dialogue between different disciplines; in both theory and technique his works encapsulate the harmony the artist has found between the past and present. He is able to recall historical artistic traditions through abstract and modernist shapes and textures, re-evoking and revitalising them by combining them with conceptual and visual proponents of contemporary art. Cappelli takes inspiration from architecture and urban planning as well as from the structure of music, using these disciplines to inform the development of his works in creating a sense of order.

Cappelli's use of pure unadulterated oil paints lends richness to the combinations of soft and bold colours in his compositions, often layered with gold dust, thus adding to the intensity of the paints. His paintings have a true smoothness to their surface and yet, within this, the labour and patience of the artist is still expressed in the brushstrokes evident on close looking. The artist thus creates depth from the flatness of the canvas, asserting the materiality of the artwork itself. Sensation is expressed as the first step of a complex process. 

Gabriele Cappelli discovered art at a young age. Frequent trips to Rome to visit his grandfather, an architect and designer, brought him into contact with painting, an experience that is still central to his practice. Cappelli moved to London in 1997 and it was here that he decided to pursue his work as an artist , inspired by the YBA movement. Cadogan has represented Gabriele Cappelli for over ten years. His work is collected widely and is held in private collections in the UK, Europe and the US.

Andreas Diaz Andersson is a Swedish-Mexican artist known for his distinctly meticulous minimalist abstractions. Andersson's work is defined by a harmonious use of shapes and lines achieved through the use of textiles and different paint mediums such as acrylic, plasticolour and aerosol paint on cotton canvas.

When viewed from afar, Andersson's carefully considered compositions may look simple, but the complexity of his works becomes clearer upon close inspection. Made with exceptional precision and a meticulous attention to detail, the works are an exploration of depth and form, hovering between illusion and abstraction. By playing with systematically arranged colours and textures, his works attain a spatially reflective quality. The physical, spatial and conceptual depth of the canvas fluctuates based on where the viewer stands, creating a constant variation of dynamic geometric patterns and deep vanishing points.

Andreas Diaz Andersson has exhibited his work in solo and group exhibitions internationally, and at art fairs including Zonamaco and Enter. He has also exhibited alongside his brother’s design studio, ATRA, at fairs such as Design Miami. Diaz Andersson’s work is included in significant private collections throughout Europe, the USA and Asia. He has been represented by Cadogan since 2021.

Edoardo Dionea Cicconi is an Italian contemporary artist working with installations, sculptures, sound and other media. Addressing universal themes often in an interactive way, he strives to find a synthesis between art & science, investigating the concept and perception of 'time'. What seems 'minimal' in Cicconi's work is, in fact, sophisticated, with significant research into innovation and new technology. The dualism between form and concept is a peculiarity of Cicconi's narrative, as well the interaction between the artwork and its surrounding space, creating a metaphysical dimension to the work.

The artist has focused on creating site-specific installations featuring essential-shaped sculptures in unusual institutional spaces and land-art projects. Cicconi was the first to showcase a contemporary art installation at the MuMe Museum. His totems interacted with two huge Caravaggio masterpieces, distorting the visitors' perceptions. This marked the debut of the 'XYZT' series. Influenced by contemporary physics, he attempted to summarise the concepts of space (XYZ) and time (T) and establish a dialogue between its phases 'past, present, and future' and their changes.

Edoardo Dionea Cicconi was born in 1985 in Rome, and lives and works between Milan and Palermo, Italy. His latest solo shows were set both in Italian museums and institutions, and have involved large-scale outdoor installations. Cicconi has been represented by Cadogan since 2022.

Catalan artist Ramón Enrich harnesses his passion for architecture in his paintings of geometric and colourful landscapes. Inspired by rationalist and African architecture, Enrich creates landscapes of geometric shapes with a non-human reference point, placing buildings at the heart of the canvases. Within a grid-like structure reminiscent of city planning, flat roofs, never ending staircases and barren, lifeless landscapes render the architecture functionless creating a surrealist and spell-binding feel. As if the sun is approaching objects from multiple angles, the elusive light accentuates various perspective shifts developed in his own artistic realm where ideas of space, abstraction and composition can continually be explored. Always with a particular and enigmatic atmosphere, his paintings reference Mediterranean culture and a spatial conception where colour and the design of spaces have no time or place.

Enrich's paintings are most striking in their deceptive simplicity. Shapes become more important than the objects they represent, pushing representation to the limits of abstraction. Trees and bushes are reduced to simple cone, sphere and cube shapes just like the buildings themselves. This formal strictness is accompanied by a warm, bright colour palette creating an uncanny effect recalling elements of De Chirico's metaphysical period, as well as Minimalism and Surrealism. This expressive language reduces elements within the paintings to their symbolic resonance, using this alphabet of motifs in a way that challenges convention, proposing a psychological rather than formal journey.

Ramón Enrich studied Fine Arts at the University of Barcelona, following which he was awarded numerous scholarships to study abroad. A great admirer of Donald Judd, he moved to Marfa, Texas in 1988 where Judd lived and worked, spending time at the Judd Foundation and the Chinati Foundation. He travelled to Los Angeles where he met Ed Ruscha and worked with David Hockney before settling in New York and assisting in Julian Schnabel’s studio for a short time. He has exhibited worldwide for almost 25 years and now lives and works in Igualada, Spain. His works are held in public and private collections worldwide, most notably the private collections of David Hockney, Norman Foster and Donald Judd.

Richard Hearns paints in the wild landscape of The Burren National Park in County Clare, Ireland. Each painting is an extension of his physical surroundings - earth, sea and sky - materialising the artist's experiences and memories of colour and natural phenomena. Born in Beirut and raised in Ireland, Hearns is deeply aware of the unique cultural backgrounds of both aspects of his heritage. Articulated in his abstract paintings, his experiences and connections with the traditions of these separate locations and cultures combine to form a triangular history. He endeavours to express his understandings of exploration, discovery and identity through the medium of paint.

Hearns' paintings document a search for an idyll. Meditative layers are applied in a physical expression of form drawn from the rhythmic nature of rural life. His work is palpably physical; his marks are an extension of his arm, the canvases mirror his height, and his energy is channelled through the brush onto the canvas. The exuberant colours of his works express his experiences of nature and its intensity, inviting the viewer to participate in this celebration of memory, colour and form. Only an allusion to landscape, Hearns' raw, indecipherable marks drive the composition to the edge of the canvas creating a distinct language of undulation, recession and space.

Having studied in Dublin at The Institute of Art, Design and Technology and The National College of Art and Design, Richard’s talent for drawing and line work led to a keen interest in observational painting. Though executed in a variety of media, his works are primarily oil based. In more recent years, Richard has turned his attention to abstract painting. These works have brought an entirely new discipline and challenge to his practice. Richard has been exhibiting for over a decade and, to date, has had solo shows in Dublin, London, Paris, Barcelona, Los Angeles and New York. His work can be found in important collections around the globe.

Terrell James, a renowned Texan contemporary artist, paints the natural world through her own unique abstract lens. Her work emerges from her close attention to organic form; her process mirrors its emergence in the landscape and in nature. Although they interpret rather than depict the landscape, the organic shapes of her works allude directly to their origins in plants, animals, fossils and glaciers. James' expressions of her 'familiar obsessions' flow automatically from the subconscious as her works unfold.

Most striking about James' works, both on canvas and on paper, are her explorations of colour and her invention of original hues to reflect her subjects. The inner radiance she generates through adding, taking away and layering her pigments is inherent in everything she makes. The imaginative openness of her practice, with its layering of new visions over traces of previous inventions, invites repeated encounters. Seeing her work is, in itself, a form of introspection as new associations arise in this continuing process of interpretation. Complex yet harmonious, James creates open paintings that offer the viewer the freedom to perceive.

Working from her studio in her hometown of Houston, Texas, she produces both intimate canvases and vigorous mural-scale works in oil. James has been included in over two hundred group shows and has completed over fifty solo exhibitions across the world. Her work is included in many museum collections, including: The Boston Museum of Art, Dallas Museum of Art, and the Whitney Museum of American Art. In 2013, she was awarded the Design Award in Art by the Decorative Center of Houston. In 2016, she was named Texas Artist of the Year by the Art League Houston. Most recently, James had a major solo exhibition at the Mobile Museum of Art. Terrell James has been represented by Cadogan since 2015.

Mimi Jung redefines the traditional practice of weaving, experimenting with intricate new techniques while exploring her own resonant personal experiences. Through the spectrum of works originating from the loom, Jung investigates the way people continuously negotiate space within and between themselves. Her work examines multiple dimensions of identity and self-preservation, particularly relating to private and public self-representation and the ways these depictions are manifested through social and cultural mores. Her works play with the expansion or narrowing of space, placing great emphasis on the space existing between the warp and the weft. Her limning of space is reflexive, visible to those who are predisposed to see it. 

Jung tests the limitations of the traditional grid format, breaking the conventions of the loom by giving the works an almost kinetic potential. The synthesis of the three-dimensional organic forms with the linearity of the latticed background, in combination with the tonal variations in the natural fibres used, creates the impression of motion. Although fixed, Jung's forms are never static as their voids and translucencies encourage optical movement through and around them. The Pareidolia series, cued by their titles, invites viewers to impose their perceptions onto the works, and in doing so, investigate why and how we perceive what is in front of us.

Jung received a BFA from Cooper Union and attended HGK Basel and Städelschule for postgraduate studies. Most recently, she was the resident artist at the Josef and Anni Albers Foundation. She has mounted exhibitions throughout the United States, including Pentimenti Gallery, Philadelphia, PA; Nina Johnson, Miami, FL; and Helen J Gallery, Los Angeles, LA. Her work has also been exhibited at Les Gens Heureux, Copenhagen; Korea International Art Fair, Seoul, South Korea; Collectible, Brussels; Somerset House, London; and the National Gallery of Victoria, Melbourne, Australia.

Tycjan Knut creates subtle abstractions. Using delicate tonal differences and neutral colours, his works have an effect that verges on optical illusion. His compositions require time and thought. What meets the eye at a glance may not be all it seems after a closer inspection. Knut's paintings unfold slowly, with multiple anchor points drawing the viewer's eye across the painting and creating a sense of balance. By building up overlapping layers of colour in a way that resembles the organic world, he creates images that trick the eye into perceiving new depth in already highly structural objects. Without using sketches or plans, Knut's practice is reactive. The artist carefully follows the formation of the composition, examining the function of each element in relation to the painting as a whole throughout.

Knut's work takes inspiration from the geometric abstract art of the twentieth century with a deep academic interest in unknown abstract 'masters'. His work resonates with the echo of this tradition but extends beyond the trend, freed from the constraints of formula.

Knut received his PhD in Fine Art and Painting from the Warsaw Academy of Fine Arts in 2011. His work has been exhibited across Europe and is held in private collections across the world. Cadogan has represented Tycjan Knut since 2019.

Laurence Leenaert's paintings are a distillation of her myriad skills. Designed, painted and woven entirely by her own hand, the works take inspiration from local Moroccan crafting techniques and natural materials. Leenaert eschews the use of digital tools and machine-led interventions, believing in a purely tactile approach to her work. Building up abstract, three dimensional works with acrylic paint, wool yarn and cotton patches on rough burlap canvas, embroidery and weaving are incorporated into her painting practice to create expressive compositions. Her naïve indeterminate line and unruly geometric forms are balanced by an effortlessly refined sense of composition. These minimal marks made on a heavily textured canvas become almost reminiscent of cave paintings, hieroglyphs and runic inscriptions from ancient worlds. 

Her work combines the colours, materials and mirage-esque forms she finds on the edge of the desert in Marrakech, creating harmony out of the contrasting chaos of the city. The palm trees, the pink walls, the light of the sun and the busy architecture of Marrakech can be seen and felt in her paintings. After moving to Morocco in 2015, Leenaert surrounded herself with visual, material and cultural inspiration for her works, drawing from her personal experiences in a new city. Finding freedom in the city's sense of timelessness, Leenaert admits to working impulsively, destroying more work than she makes. With a fluid method employed across her canvases, aspects from each painting often swapping and changing, her works reflect the spontaneous environment in which she works. 

Leenaert studied Fashion Design at the Royal Academy of Fine Arts in Ghent, Belgium. After completing an internship with Bless in Berlin, she launched her own design studio, LRNCE. Her designs quickly became sought after in high-end outlets such as The Conran Shop and the Picasso Museum. She has had multiple shows with Cadogan.

Sam Lock paints viscerally. Using blowtorches and sanders as well as the brush, he sees each canvas as a battlefield. Sanded, stained, scorched and sealed, each work is the result of a continuous cycle of making - a repeated process of building up and destruction. The works have an elusive feeling, revealing layers of past images and tones that drop in and out of themselves. This sense of painterly archaeology brings attention to the movement of the mind and the residue of action, and the pervading sense of unpredictability. The physicality of Lock's process is evident throughout his paintings. His expansive gestures and sweeping movements on a monumental scale, as well as his smaller works where marks made by movements of the wrist are added to paper, translate into an energetic artistic presence visible throughout his works. 

Lock's preoccupation with 'the presence of absence' is evident throughout his works. Inspired by the works of Samuel Beckett and Harold Pinter, the equivalence of the spoken word and protracted silence influence Lock's practice. His painterly language of abstract marks and signs contribute to an exploration of the ways silence and interval might be iterated visually. The concept of time has been one of Lock's primary themes in painting - time to create history and memory and traces of other times and places. This 'poetry of yesterday' is sensed in all of his paintings. They are not paintings that reveal themselves at a glimpse. They require the viewer to find a new pace, to take the time to discern and contemplate the deeper resonances of the works. Acting as an interface between the conscious and the subconscious, the paintings' surfaces create a connection between inner and outer worlds. According to Lock, 'the best paintings nurture you from looking, into feeling,' creating an experience that evolves from an artwork. 

Lock’s interest in the relationship between history and archaeology, incorporated into and underpinning his painting practice, was developed during his time in Rome as a scholarship student. Sam Lock trained at Edinburgh University and College of Art, graduating with an MA in Fine Art Painting and an MA in History of Art in 1997. He has exhibited regularly with Cadogan since 2015 and has shown at various galleries and fairs across Europe and Asia. 

Growing up in a family of artists, Nuria Maria has been immersed in art from a young age. After multiple visits to Italy, surrounded by incredible paintings, churches, and frescos, Nuria decided to study what she loves most in life: art. In her early career, Nuria's paintings were predominantly figurative, experimenting also with music and video installations. Since then, her work has grown increasingly abstract, attempting to capture the atmosphere of a certain moment, a day in the season, a memory, or a certain type of light. The colours carry the atmosphere and the interaction between subjects they attract or push, float, fall, fly or are blown out of the painting itself.

Nuria's work captures a moment to the core. It is about love, home, and the landscapes we find ourselves in. She seeks to capture the essence of a moment in time, the music we hear when we are alone, when we drive, walk, think, travel, miss, or when we want to get somewhere; the comfort of arriving wherever we feel at home. Colours and rhythms are only starting points for Nuria Maria, as her work captures a moment or an emotion, prioritising this quality over the visible state of the painting.

Currently based in the Netherlands, Nuria Maria completed a Bachelor of Fine Arts from the Academy of Fine Arts Maastricht NL in 2014, and has since regularly exhibited in group and solo shows throughout Europe.

Through his large-scale oil paintings, Theo Pinto distils the subject down to its pure essence of light, invoking a sense of awe and reverence that prompts us to reflect on our connection to the divine. With his soft yet vibrant colour palettes, Pinto strives to capture the dynamic energy and fluidity of the sky in a distinctive and abstract manner. Theo's artworks shift and adapt under varying light conditions. His paintings aren't mere static images but living illustrations of life's ceaseless rhythm, vibrant with the dance of brilliance and shadow, emotion, and chroma. 

Drawing deeply from the wellspring of Eastern philosophy and Vedic wisdom, Pinto views his creative process as a divine dedication. Each brushstroke is a tribute to the spiritual, capturing the celestial influence guiding his hand. His artworks aren't just visual display, they serve as portals to the divine realm. Theo's work is a space of contemplation and gratitude, a sanctuary where one can momentarily escape the chaos, pause, and embrace profound gratitude for the simple joy of being alive.

Theo Pinto is a Brazilian Artist, Experiential Designer, and Art Director based in Brooklyn, New York. Having completed his B.F.A in Architecture at Maryland Institute College of Art in 2013, Pinto’s multidisciplinary experience has more recently merged into contemporary art. Pinto views his art as an extension of his spiritual practice, as a means of connecting with the divine and fostering a sense of tranquillity and wholeness.

Juliette Paull is a gestural abstract artist known for creating highly evocative compositions powered by strong yet subtle brushstrokes. Precariously balanced between abstraction and figuration, Paull’s paintings engage with both the visceral and the sublime through gesture and scale. Drawing inspiration from Romanticism and explorations of the sublime in the eighteenth century, Paull opens a personal dialogue between a historical aesthetic and the dramatic landscape of West Cornwall where she lives. 

Paull’s work deals with cycles; growth and change occurring internally and externally. In a similar manner to the landscape, Paull’s paintings develop slowly and intuitively, driven by the power of the world around her. They are landscapes that explore both the natural world that surrounds us and the fragility and strength of the human condition, an internal landscape. Paull works in series, bringing multiple works into dialogue with each other so they can reach an overarching sense of harmony.

 Juliette Paull graduated with a BA in Fine Art from Falmouth School of Art in 2007 and has been represented by Cadogan since 2013. Since then, she has had three successful solo exhibitions with the gallery and has participated in numerous group exhibitions across the country. She works in her studio in West Cornwall. 

Colour and composition are the emphasis of Emanuel Seitz's paintings. Reducing painting to its simplest vocabulary, his works are a celebration of paint and spatiality. Each colour is created from a pure pigment and is added to the canvas in corresponding blocks. The painted marks are then applied on top in free-flowing brush strokes in which one can see the influence of his time studying directly under Günther Förg.

It is this contrast between the background and the overlaying marks that imbues his compositions with power and balance. His artistic process is thus relieved of structural and compositional constraints as colour itself is the essence of form in his paintings. Emotion is an afterthought in his process, yet his harmonious combinations allow the colours to sing, provoking an immediate visual reaction. While Seitz's paintings seem simple, the chromatic combinations are deeply considered, presented in an elegant interplay between the homogeneous and the indistinct.

Emanuel Seitz studied at the Munich Academy of Fine Arts between 1996 and 2002. He has since lived and worked in Germany, exhibiting regularly throughout Europe. He is widely collected with works represented in major collections including the Lenbachhaus and the Pinakothek der Moderne in Munich.

Deborah Tarr describes the process of painting as a 'conundrum' – a constant cycle of decision making and self-discipline. In her works, removal and restraint are often more important than adding the next thing. Her paintings are tangible and conceptual, but even in the most reductive and abstract paintings there is an organic, living line.

Tarr's paintings emphasise their own materiality, her output is fine-tuned and each painting becomes a complete and individual object. This is defined as much by the grain of the canvas and the application of colour, as by the careful choice of frame. Sourcing and choosing the frame is a vital part of Tarr's artistic process. From antique and reclaimed to clean and modern custom-made frames, the juxtaposition of traditional and modern, organic and man-made, is what makes her work unique, powerful and universal.

Deborah Tarr studied painting at the Winchester School of Art, earning her BA in 1988. Represented by Cadogan since 2002, Tarr’s work has been featured in numerous solo and group exhibitions with the gallery, as well as at major international art fairs. She has developed a loyal and extensive base of collectors worldwide.

Nostalgia and melancholy permeate the experience of Leonardo Anker Vandal's work. The artist transforms his experiences of personal trauma in his early life into a highly personal, visual, poetic and enigmatic language through the use of every medium he finds relevant within his reach. There is an antithesis between presence and absence, being free and being confined, a wandering dialogue between reality and illusion. This invites the viewer to meander in the land of the unwanted and unseen. The title work, Solitary Wanderer explores the notion and curiousness of reality with the large works which he calls Pocket Paintings.

Vandal's ideology is based on the poet Keats' term, 'negative capability', and he is drawn to various and often unusual mediums for their symbolic potency. He refers to the study of the mind based on Jung's psychoanalysis, investigating trauma and the life in between the conscious and the unconscious parts of ourselves. Vandal defines his work as a 'medley of silence' and 'the embroidery to the time he is given'.

Currently based in Brescia, Italy, Vandal is a multidisciplinary artist working across mediums such as painting, sculpture, installation and writing. He has been represented by Cadogan since 2021 and has presented his works at institutional solo exhibitions across Europe.

Maximilian Verhas has long grappled with the immobility of sculptures. His solution: bronze sculptures that seem endlessly intertwined, set in motion so that notions of above, below, inside and outside become indistinct.

With these "Rollkorper", as he calls them, Verhas explores the traditional definition of sculpture, but overturns it by creating a moving, multifaceted work whose identity changes with its position. These organically shaped rolling body sculptures challenge and redefine the concept of multiple perspectives. The viewer cannot only see the customary exterior sides of the sculpture, the under and upper sides can also be examined alternately. These flowing ribbons are at once graceful and dynamic, yet sharp-edged and architectural. Verhas redefines the object not as a predetermined form viewed at different angles, but as a varying identity defined by its viewpoint and position.

Maximillian Verhas studied Painting and Graphic Design at the Academy of Fine Arts in Nuremberg from 1981 until 1986 before taking up Sculpture at the University of the Arts in Berlin from 1986 until 1990. He began creating his socalled Rollkorper, i.e. rolling bodies, around the end of his degree. His works are regularly shown in German and European galleries and at international art fairs, and are part of public and private collections worldwide.

British painter Richard Zinon uses broad, gestural brush strokes to draw attention to the action of painting itself, placing this at the centre of his works. These movements across the canvas, reminiscent of Japanese calligraphy, succinctly transmit the pure action and energy of Zinon's artistic process and the joy found in these acts of creation. Zinon uses a restricted palette, using dark hues to explore the subtleties of light and colour. His large-scale, abstract paintings are devoid of figuration or complex reference. Through the direct but contained strength of the brushstrokes, Zinon conveys pure emotion.

Zinon eschews the use of preparatory sketches, often completing his works in a single sitting. During his creative process he avoids external stimulus, allowing intuition and primary instinct to guide the energetic brushstrokes of his works. All meaning emerges from the conversation that later takes place between the viewer and the canvas.

Richard Zinon studied at the renowned ‘Academia di Belle Arti’ in Florence. He has since nurtured his interest in numerous artforms including print-making and Japanese ceramics. He has exhibited across the continent including at numerous art fairs, and his works are collected worldwide.