Interviews

In an age saturated by images, Pam Evelyn’s paintings propose a different experience of
looking: physical, prolonged and deeply attentive to the life of the surface. Her expansive
canvases emerge through dense accumulations of oil, where colour, gesture, erasure and
matter remain visibly entangled. Occupying an unstable territory between abstraction,
figuration and landscape, forms appear, dissolve and return.

Sarah Martin-Nuss is a New York-based artist whose practice spans painting, drawing,
performance and sound. Her layered compositions combine gestural marks and shifting
fields of colour, creating atmospheric images that evoke the rhythms and complexity of the
natural world.

Emma Masut's practice unfolds between drawing and painting, through images that take shape from impressions, associations and enduring interests.

Jesse Mockrin’s paintings begin with images that already carry the weight of art history. Drawing on Renaissance and Baroque painting, she isolates bodies, gestures, and fragments from canonical compositions, reconstructing them within new pictorial narratives.

Sophia Loeb creates paintings in which landscape, abstraction and sensory experience converge. Her images move between recognition and invention, constructing environments where colour, atmosphere and matter follow an internal logic. Rather than depicting a landscape, Loeb turns it into a condition of perception—something encountered as much as seen.

Angel Otero conceives painting as a material capable of recording its own becoming.
Born in Santurce, Puerto Rico, in 1981, and now working between Puerto Rico and New
York, he has developed a practice in which memory, art history, and material
transformation are deeply intertwined.

In Jonathan Lyndon Chase’s paintings, the body becomes a site of identity, intimacy, vulnerability, and transformation. Moving between figuration and abstraction, Chase creates visual worlds in which bodies, objects, and environments are inseparable, shaped by lived experience, everyday gestures, and community.

Nathanaëlle Herbelin’s paintings begin with the intimacy of everyday life: domestic interiors, bodies, relationships and moments that might otherwise remain unnoticed.

In an age saturated by images, Marina Perez Simão’s paintings return to a slower and more attentive mode of seeing. Working across painting, watercolour, textiles and drawing, she develops a practice rooted in accumulation, intuition and the gradual emergence of images from experience.

In his paintings, Shaqúelle Whyte constructs imagined spaces charged with ambiguity, exploring the human condition through expressive brushwork, loosely rendered figures, and expansive compositions. His scenes hover between recognition and invention, creating worlds whose logic remains deliberately elusive.