"I turned to the landscape as a way of holding on to moments, to light, and to the often overlooked persistence of life. Photographing has always been, for me, an act of remembrance: a way to slow time and preserve what is still growing and still breathing, even as loss reshapes our experience of the world."
My drawing practice revolves around capturing quiet, ephemeral moments found in films, music videos, and internet culture. By creating these small sequential panels, I seek to stretch these moments to their limit, aiming to slow time down and reveal a soft, meditative beauty within the digital ephemeral.
"These paintings merge the landscape and the intimacy of windows through the framing of the car, bridging the two realms I've typically explored separately. The car becomes a meditation on transition, on existing simultaneously here and elsewhere."
Of Lithuanian-Russian heritage, Panova's work is informed by that layered cultural inheritance as growing up between cultures has shaped her sensitivity to shifting narratives. Her work explores folklore, quiet, and images that feel suspended between past and present.
This depicts Guernica after the battle. The figures are no longer fighting. They're in a giant pile. They're exhausted and there's a sunrise on a new day behind them. The title of the work is A Whole New World (for Who?). It's asking what's going to happen after the conflicts that we have. Who's going to be taken into that new world?
NeSpoon uses paint and the power of contrast to create large-scale lace patterns in a celebration of the craft. Often symmetrical, they appear framed by the outlines of corners and roofs, while windows and doors emphasize the murals' scale. From a distance, the patterns appear flawless, as if they could be printed. Up close, it's clear the lines are sprayed and brushed by hand, emphasizing the handmade.
There's this push and pull between feeling unease and discomfort, the nature of the spaces, and why they feel uncomfortable. But there is also tenderness and warmth, people adapting to these spaces and finding ways to make them comfortable.
We visited the Female Artists of the Mougins Museum, in Mougins, a small village on a hill near Cannes. Full of exclusively female artists from Berthe Morisot in the 19th century and Frida Kahlo in the early 20th to contemporary figures such as Tracey Emin it houses an incredible collection of often overlooked art and artists. We visited on a rainy October day and it was remarkably quiet and calm. I particularly enjoyed the abstract works well worth a trip up the hill.
Her installations and individual sculptures combine a wealth of things and techniques, often all at once, from found objects to time-honoured sculptural materials like bronze and marble; and from carving to casting and crocheting. Colour plays a vital role in her work, in the varied hues of textiles or plaster.
As a child, I imagined a place far behind our own sky. A planet with its own weather, its own atmosphere, its own logic entirely. It was my own version of science fiction. How did it feel on this planet? Was it snowy, windy, or could you sense the first green breath of spring-I called it Planet Z.
In order to create a unique visual language for the single, Julia embarked on a three-month-long project of handcrafting and painting 300 individual ceramic tiles to make up the music video frames, each with their own beautiful irregularities and imperfections in glaze. Structured in grids of twelve, these tiles were swapped out like puzzle pieces in the final stop motion, using zoetropes and evolving motifs to follow "the meditative rhythm of the song through repetition, noise, and texture", the artist says.
Going out and demonstrating is really important. But if you don't feel comfortable demonstrating, you can volunteer for organizations, you can donate to organizations, you can sign petitions, you can call your senator. There's no excuse not to be involved on some level.
The organicity of the human body we're born inside of is encoded in us. This concept of our organic nature as the source of elemental knowledge, at once direct and mysterious, permeates the textural abstractions exhibited in her survey Magdalena Abakanowicz: The Thread of Existence at Musée Bourdelle.
Following the tragic death of Koyo Kouoh last May, the details of her final project- In Minor Keys, the international exhibition of the 2026 Venice Biennale-were unveiled this week by the collaborative team that will carry through her vision for the show.
Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.
Behind its seemingly polished framework, To Empty Out emerges as an exhibition beautifully rife with contradictions that overlay serious and playful themes according to Grzybacz, who often sets out to "clash the forces" of gravity and levity through his chosen subjects. Through sublime florals, bawdy scenes, and raw portraits of social life, Grzybacz balances contemplation and observation, navigating between painterly precision and intuitive expression in this deeply personal exhibition.
Karina Lumiere paints like someone who trusts color more than language. Her work does not whisper its intentions. It glows, pulses, seduces. This is abstraction born not from theory, but from devotiondevotion to intuition, to sensation, to the unapologetic power of hue as an emotional instrument. Her path to abstract expressionism was never academic. It unfolded in solitude, shaped by meditation and spiritual practice, where listening became more important than learning and presence eclipsed instruction.
