Artio Gallery

ARTIO GALLERY

Catalogue

April 17-19, 2026

ARTIO GALLERY

"Interconnectinglines”

April17-19,2026

Alexander Hirtl

Anamarija Matić

Aurore Monteil

Austen Brantley

Bianca Pirlog

Carlos Abraham

Chiya Clika

Cristóbal Corbeaux

Desiree Griffith

Dirk Verschueren

Hervé Teboul

Isabel Breininger

Ivana Gagić Kičinbači

Jaime Cuadrench Berlinger

Karin Sonesson

Konul Kazimova

Kosho Kinoshita

L. Renee Williams

Lene Birch Vestergaard

Nasim Parsa

Natalya Raduenz

Paulina Sanchez

Zhihong

AUSTEN BRANTLEY

Austen Brantley's Mountain is a sculpture of extraordinary conceptual and emotional depth. A monumental bronze head — serene in profile, its surface rich with green patina — becomes the foundation for something even larger: two small figures perched atop it, a man and a woman, intimate and exposed against the air. The idea is simple and profound: that inside every person's mind lives a whole world, populated by those they love, those they carry, those they cannot put down. Brantley executes this vision with great technical skill and greathumanity,andtheresultisaworkthatstayswithyoulike athoughtyoucan'tquiteshake.

AUSTEN BRANTLEY

ALEX OF ARTEXINIA

Alex of Artexinia's two soapstone sculptures are small in size but enormous in character. Both present expressive, mask-like faces carved with a directness and energy that feels at once ancient — recalling pre-Columbian or African sculptural traditions — and completely contemporary. The creamy pale stone of Twenty Twenty Sixex / Personality Coachex gives its grinning,wide-eyedfaceanalmostluminousquality,whilethe darker, mottled surface of Nonosexa lends its features a brooding intensity. Together they feel like two sides of a personality — one open and exuberant, one watchful and knowing—andbothareirresistible.

ALEX OF ARTEXINIA

TWENTYTWENTYSIXEX/

PERSONALITYCOACHEX

Soapstone sculpture 14 x 10cm

Soapstone sculpture 7,5 x 6cm

ANAMARIJA MATIC

Anamarija Matic's Fragments in Motion is a painting of real authority.Againstagroundofblackandwhite—bold,gestural, physicallyapplied—twoblocksofdeepcobaltblueanchorthe composition with calm precision, while a single yellow line curves through the whole thing like a thought mid-flight. The contrast between the raw energy of the brushwork and the cool geometry of the blue passages creates a wonderful tension, and the result is a painting that feels both spontaneous and completely considered. This is abstract paintingworkingatfullpower.

ANAMARIJA MATIC / ANAMARIA MBF DESIGN

FragmentsinMotion

Acrylic on canvas

100 x 100cm

AURORE MONTEIL

Aurore Monteil's two Nebula works are among the most materially extraordinary in the exhibition. Each is built on glazed ceramic tiles — painted with oxide, rutile, mica, glass frit, and crushed ceramics — and set within an oak frame finished in Napoleon III black varnish, the whole thing sealed with an engraved metal plaque. The result is a surface that seems to generate its own light: deep cobalt and violet fields from which gold and silver rays burst outward like a star exploding. Nebula 0.1 spreads across nine tiles in a glorious square,whileNebula0.2elongatesthesameenergyintoatall, narrowcolumn—twoversionsofthesamemagnificentcosmic event,eachentirelyitself.

AURORE MONTEIL - 4A STUDIO

Nebula0.1

oxyde painting, rutile, mica, glass frit, and crushed ceramics, on glazed ceramic tiles. Frame crafted in oak with a Napoleon III black varnish and an engraved metal plaque

68 x 53cm

AURORE MONTEIL - 4A STUDIO

Nebula0.2 oxyde painting, rutile, mica, glass frit, and crushed ceramics, on glazed ceramic tiles. Frame crafted in oak with a Napoleon III black varnish and an engraved metal plaque 68 x 23cm

BIANCA PIRLOG

Bianca Pirlog’s The Pact unfolds as a quiet meditation on duality, where fragility and instinct exist in a state of intimate equilibrium. The central figure, withdrawn and introspective, bears a surface marked by delicate fractures, traces not of damage, but of lived experience and temporal accumulation. These fissures, gently illuminated with gold, transform rupture into continuity, suggesting a poetics of resilience grounded in acceptanceratherthanresistance.

Accompanied by the watchful presence of the leopard, a symbol of latent strength and silent protection, the composition evokes an unspoken alliance between softness and vigilance. Butterflies drift across the scene as fleeting markers of transience, reinforcing the ephemeral nature of emotional states. Drawing on a contemplative visual language informed by both Western and Eastern sensibilities, Pirlog constructs a space where vulnerability is not opposed to power,butbecomesitsquietcounterpart.

BIANCA PIRLOG

ThePact

Oil paint, mixed media, ink, acrylic, diamond dust, and gold leaf on velvet canvas. 90 x 100cm

CHIYA CLIKA

Chiya Clika's Cave 001 is a painting that collapses time in the most wonderful way. Against a warm, pale ground, primitive figures, animals, and pixelated emoji-like forms sit alongside one another as naturally as if they had always belonged together — cave painting and digital culture meeting on the same wall, separated by thousands of years and no distance at all. Clika layers oil, oil stick, acrylic, and polymer to build a surface that feels genuinely ancient and genuinely now, and theresultisaworkthatmakesyoulaughandmakesyouthink in equal measure. Humanity has always drawn on walls. Some thingsneverchange.

CHIYA CLIKA

Oil, Oil Stick, Acrylic, Polymer, Canvas

40 x 30cm

CRISTÓBAL CORBEAUX

Cristóbal Corbeaux's sculpture is a study in the tenderness of two people finding each other. Two figures, slender, textured, their surfaces alive with the marks of making, stand pressed together in an embrace, the taller leaning in toward the smaller,bothofthemcompletelyabsorbedinthemoment.The bronze-like finish gives the work a warmth and weight that suitsitssubjectperfectly,andthesimplicityofthecomposition —noprops,nosetting,justtwobodiesandthespacebetween them closing makes it quietly devastating. This is a sculpture aboutlove,renderedwithgreatskillandgreatfeeling.

CRISTÓBAL CORBEAUX

Metal, resin and quartz on an iron base

80 x 25 x 25cm

DESIREE GRIFFITH

Desiree Griffith returns with Visceral, a work that once again demonstrates her remarkable ability to make materials do emotionalwork.Here,bismuthandquartzaresetinepoxyresin on canvas, forming a jagged, silvery oval — like a wound, or a mirror,oracell—thatsitsinafieldoftranslucentpaleground with a strange, hovering presence. A small red accent in the lower corner pulses like a heartbeat. The title is exactly right: this is a work that bypasses the mind and goes straight to the body, to something felt rather than understood. Compelling, unsettling,andbeautifulallatonce.

DESIREE GRIFFITH

Visceral

bismuth + quartz + epoxy resin on canvas

31 x 31cm

DIRK VERSCHUEREN

Dirk Verschueren's Pepe is a portrait painted with the kind of quiet affection and technical mastery that makes you feel you know the subject, even if you have never met him. An elderly man in profile — flat cap, red collar, face deeply lined and full of lived experience — is rendered in warm ochres and soft browns against a dark ground, the brushwork sure and unhurried. Verschueren has clearly looked at this face with great care, and that care shows in every mark. It is the kind of portrait that the great Dutch masters made — human, honest, andcompletelydignified.

DIRK VERSCHUEREN

HERVÉ TEBOUL

HervéTeboulbringshissignaturetouchtothestilllifewithtwo large, luminous works that transform the humblest of subjects — a pear, an apple — into objects of genuine splendour. Rondeurs Dorées sets a golden pear against a lush, loosely painted green ground, the fruit rendered in gold leaf that catches and holds the light with extraordinary warmth. Rouge Délice counters with an apple blazing in gold against a field of deep, vibrant red — bold, joyful, and completely alive. Teboul takes the centuries-old tradition of fruit painting and gives it backtousentirelyrenewed,gleamingandirresistible.

HERVÉ TEBOUL

Rondeursdorées

Acrylic, gold leaf and epoxy

92 x 122cm

HERVÉ TEBOUL

Acrylic, gold leaf and epoxy

92 x 92cm

VANDART STUDIO

Vandart Studio returns with a work of an entirely different register from their butterfly series — and it is just as accomplished. Unfold is a winter landscape of quiet, almost aching beauty: bare trees dusted with snow, a narrow stream threading through a white field, distant mountains fading into apalebluesky.Thepaintinghasthewarmthandintimacyofa memory,thekindofsceneyoucarrywithyoulongafteryou've left it behind. Vandart paints with a delicate, assured hand, andthelightinthiswork—goldenandcoolatonce—issimply wonderful.

VANDART STUDIO

NATALYA RADÜNZ

NatalyaRadünz'sExodusisadiptychofstrikinggraphicpower. Twotrees—onedarkagainstalightground,onewhiteagainst dark — grow from the same root system across the divide between the panels, their branches reaching in opposite directions, their forms built up in relief so that the surface has a real physical presence. The image is at once simple and deeplyresonant:separationandconnection,shadowandlight, the same life expressed in two entirely different ways. Radünz makesaworkthatisvisuallyboldandemotionallyintelligentin equalmeasure.

NATALYA RADÜNZ

Acrylic, Mixed Media on canvas

100 x 30cm

ISABEL BREININGER

Isabel Breininger's two paintings announce an artist completely at home with colour and gesture. Working in what appears to be oil, she builds her floral compositions through bold, confident strokes — petals and leaves suggested rather than described, the paint applied with a directness and physicality that makes each mark count. The palette is glorious: deep navy and forest green anchoring explosions of pink, mauve, mustard, and warm white, the whole thing hovering beautifully between abstraction and recognition. You know these are flowers, but more than that you know how they feel — abundant, generous, alive with a kind of uncontainable energy.Breiningerpaintswithrealfreedom,andtheresultsare simplywonderfultobeinthepresenceof.

ISABEL BREININGER

ISABEL BREININGER

Unfold(diptych)

IVANA GAGIC KICINBACI

Ivana Gagic Kicinbaci's Threshold is a photograph that exists somewhere between this world and another. A luminous white form — spiralling, weightless, like a breath or a ghost — floats through a darkened, layered landscape of teal and grey, the ground below it scored with delicate lines, the atmosphere around it dense and dreamlike. Printed as a limited edition of threeonHahnemühlePhotoRagSatin,theimagehasavelvety depth that suits its subject perfectly. This is a work about the momentbeforecrossingover—whateverthatmeanstoyou— anditishauntinglybeautiful.

IVANA GAGIC KICINBACI

Threshold

Digital Print on Hahnemühle

Photo Rag Satin Paper, limited edition of 3

80 x 80cm

JAIME CUADRENCH BERLINGER

JaimeCuadrenchBerlinger'stwoworksarrivewithtremendous energy and playfulness. Distorsion fills its canvas with warm pinks and peaches, rounded forms overlaid with dotted patterns jostling and merging in a composition that feels both organic and slightly hallucinatory — like looking at something familiar through distorted glass. Eco del Mañana shifts the register to cool lavender and violet, dark vertical strokes raining down through a field scattered with dashes of yellow andteal,thewholethingalivewithmovementandsound.Both works are painted with real freedom and a wonderful sense of colour,andtogethertheymakeforanirresistiblepairing.

JAIME CUADRENCH BERLINGER

Distorsion

Mixed Technique

100 x 100cm

JAIME CUADRENCH BERLINGER

Mixed Technique

100 x 100cm

KARIN SONESSON

Karin Sonesson's Waves is a work that makes you want to reach out and touch it. Modelling compound has been applied to canvas in great sweeping gestures — broad, curved ridges that catch the light and cast soft shadows across the surface, creating a texture that is simultaneously monumental and delicate. There is no colour here, only form and light and the memory of movement — and it is completely, quietly extraordinary. Sonesson has made a painting about the sea without showing the sea at all, and in doing so has captured somethingessentialaboutit:itsrhythm,itsscale,itsirresistible pull.

KARIN SONESSON

Waves

Modeling compound

80 x 120cm

KONUL

Konul's two oil paintings are a genuine pleasure — generous, luminous,andpaintedwithrealjoy.TheWayofLightgivesusa rolling landscape in full summer colour, greens and golds cascadingdownhillsidestowardaglitteringbodyofwater,the sky above billowing with white clouds. Sunny Dux turns the same warm attention to a group of white geese gathered at the water's edge, their plumage rendered with a softness and care that makes them feel utterly alive. Konul paints the world as a place worth celebrating, and it is hard to look at either of theseworkswithoutfeelinglifted.

KONUL

KOSHO

Kosho's two works announce a painter deeply in love with geometry, colour, and the energy that happens when both are pushedtotheirlimits.Encounter1isariotofprimaryshapes— red, white, blue, and gold — set against a deep cobalt ground that hums with intensity, the composition dynamic and full of movement. Composition XIII takes a softer, more atmospheric approach, circles and curves drifting through fields of violet, teal, and pale gold like planets in a luminous universe. Kosho works confidently in the tradition of geometric abstraction while making it feel entirely fresh, and both paintings reward long,closelooking.

KOSHO

COMPOSITIONXIII

Encounter1

Acrylic on canvas

91 x 91cm

Mixed media on canvas(Acrylic×Oil)

91 x 91cm

L. RENEE WILLIAMS

L. Renee Williams' The Liminal Hour is a painting steeped in atmosphereandmeaning.Atitscentre,anornategoldenclock — its hands raised, its face intricate and glowing — is enveloped in a swirl of dust and dark matter, while black vinelike tendrils reach outward across the canvas like time itself unravelling. The ground shifts from deep black on one side to warm, textured white on the other, and the effect is one of extraordinary drama and tenderness. This is a painting about the moments between things — between night and day, betweenwhatwasandwhatcomesnext—anditglows.

L. RENEE WILLIAMS

TheLiminalHour

Acrylic, gesso, heavy body texture on canvas

76 x 76cm

LENE BIRCH VESTERGAARD

Lene Birch Vestergaard is a self-taught artist with over three decades of experience as an art educator. Her practice is deeply rooted in a dialogue with nature, drawing inspiration from both cultivated and untamed landscapes. Her garden, which she has shaped over nearly three decades, becomes an extension of her artistic process—an evolving canvas where form,color,andrhythmunfoldorganically.

Influenced by the dramatic terrains of Iceland and the Faroe Islands, her work reflects the raw beauty and emotional intensity of Nordic nature. Water, as a vital and ever-changing element, often emerges as a central motif, embodying movement, depth, and transformation. Through expressive abstraction, Vestergaard captures the tension between strength and fragility, inviting the viewer into a space where natureandemotionconverge.

LENE BIRCH VESTERGAARD

60 x 60cm

LENE BIRCH VESTERGAARD

NatureElements

Acrylic on canvas

60 x 60cm

PAULINA SANCHEZ

Paulina Sanchez's two large acrylic works share a language of fluid geology — of stone and water and the slow, patient movementofnaturalforces.ReleaseMefillsitstallcanvaswith a surface that looks like tidal flats seen from above, rivulets of grey and sand branching outward from a central surge, dark pools gathering in the hollows. A New Dawn offers a quieter counterpart: soft veils of cream, taupe, and pale blue drift and layer like mist over marble, the whole surface luminous and still. Both works have the quality of something vast made intimate,andtogethertheyfeellikebreathinginandbreathing out.

PAULINA SANCHEZ

ReleaseMe

152 x 91cm

PAULINA SANCHEZ

152 x 91cm

AURORA ROSE DECROSTA

Aurora Rose DeCrosta's Red is the Colour is a photograph of extraordinary atmosphere and poise. A young woman in a red sequineddressstandsinprofileamidablurofcolourandlight — other figures, glittering fabric, green and gold bokeh dissolving around her — her expression inward, self-contained, entirely her own. DeCrosta captures the paradox of being both surrounded and alone, of being the most vivid thing in a vivid room and still somehow elsewhere. The composition is instinctiveandsure,thecolourrichandwarm,andtheresultis aportraitthatfeelslikeamomentheldperfectlystill.

AURORA ROSE DECROSTA

RedistheColour

Photography / Digital Print

52 x 60 cm

ARTIO GALLERY

DIGITAL EXHIBITION

April 17-19, 2026

ARTIO GALLERY

DIGITAL EXHIBITION

"Interconnectinglines”

April17-19,2026

Antonio Rana

Alba Domenech

Anna Chmielowska

Crina F. Paun

Dina El-Sioufi

Imre Hasanic

Isabel Arocena

Inigo Arte

Justine Giordano

Kathy Miller

Lea Karvala

Marvel A Maring

Przemysław Olczak

Paula Jaszczyk

Rand Alkishtaini

Rebecca Antoniou

Susana Mazzarino

Tajana Sesar

Thiago Marques

Yuya Chujo

Yume Inagaki

Zacharias Daniilakis

ANTONIO RANA

AntonioRana'sLaCappellieraisaphotographthatfindspoetry in the everyday. A hat stand crowded with dark caps and hats rises in silhouette against the soft, bokeh-blurred light of a narrow street, the scene rendered in rich black and white that gives it the timeless quality of a film still. There is something gentlycomicandsomethingdeeplyhumanaboutit—allthose hats waiting, all those lives implied — and Rana composes it with a quiet confidence and a sure eye for the moment when theordinarybecomessomethingworthstoppingfor.

ANTONIO RANA

Photography

35 x 26cm

ALBA DOMENECH

Alba’s artistic universe draws from surrealism and Japanese aesthetics, unfolding a dreamlike and symbolic visual language centered on the feminine experience. Through intimate and evocative compositions, her work explores themes of sensuality, societal expectations, and an ongoing searchforconnectionwiththesubconscious.

A recurring motif within her practice is the butterfly, embodying fragility, transformation, and inner guidance—at oncevulnerableandresilient.Herdistinctiveapproachliesina hybrid technique that merges digital drawing with traditional painting, dissolving the boundaries between mediums. This fusion results in atmospheric works charged with subtle tension,wherethepoeticandtheintrospectiveconverge.

ALBA DOMENECH

Mixed Media

200 x 130cm

INIGO ARTE

InigoArte'sIconoVirgendeGuadalupeisaworkthatshimmers with devotion and craft. The Virgin is set at the centre of an intricate field of embossed metal, surrounded by golden ornaments, jewelled brooches, sacred hearts, and gleaming green stones — every element placed with the care of an offering. It is part altarpiece, part jewellery box, part love letter to a tradition, and the effect is genuinely overwhelming. This is an object that carries the weight of faith and the pleasure of beauty in equal measure, and it rewards every moment of closeattention.

INIGO ARTE

ISABEL AROCENA

Isabel Arocena's Vega is a sculpture of raw, quietly thrilling power. A female torso — armless, headless, the body twisting upward as though reaching for something just out of reach — isrenderedinbronzeandresinwithasurfacethatisroughand alive, deep green-black and flecked with warmth. It is the kind of work that makes you want to walk around it, to see how the form changes with each angle, how the light catches the texture differently at every turn. Arocena has made something ancient-feeling and completely present at the same time — a body caught between earth and sky, full of restless, beautiful energy.

ISABEL AROCENA

JUSTINE GIORDANO

Justine Giordano's Crashing Waves of Thought is a painting that gets the sea exactly right — not its appearance, but its feeling. Layers of impastoed blue and white build wave upon waveacrossthecanvas,eachonethickandphysical,thepaint applied with the same kind of relentless momentum as the water it describes. The palette is cool and clean, all deep navy andpaleskyblueandwhitefoam,andthewholesurfacehums with movement. This is a painting about the way thoughts arrive — in surges, one after another, unstoppable and strangelybeautiful.

JUSTINE GIORDANO

Crashingwavesofthought

Acrylic on canvas

50 x 50cm

LEA KARVALA

Lea Karvala's Drops of Joy is an exuberant, sun-drenched canvas that feels like a celebration. A warm golden ground is animated by splashes and drips of yellow, violet, and red that scatter across the surface like confetti or wildflowers — joyful, spontaneous, and completely alive. Karvala layers her marks with real generosity, building a surface full of incident and warmth,andtheresultisapaintingthatissimplywonderfulto spend time with. It asks nothing of you except to enjoy it, and onthatcountitsucceedsmagnificently.

LEA KARVALA

80 x 80cm

MARVEL A MARING

Marvel A Maring's Octobre 2025 is a collage of tremendous visual energy, strips and fragments of paper in black, red, yellow, pink, and green layered and interlocked into a composition that buzzes with movement and colour. The transitionfromthemonochromecharcoalpassagesontheleft to the vivid, almost carnival brightness on the right feels like watching the world shift from shadow into light — or from one month, one mood, into something altogether more alive. Maring works with great confidence and a wonderful eye for rhythm, and the result is a small work that contains a remarkableamountofworld.

MARVEL A MARING

Octobre2025

Mixed-media Collage

20 x 20cm

REBECCA ANTONIOU

Rebecca Antoniou's I'm Still Here Black Cube II is one of the mostquietlystartlingworksintheexhibition.Awoodencube— each face painted in oil with fragments of a nude figure, skin warmly lit against deep shadow — sits in space so that no single viewing angle gives you the whole picture. You have to move around it, piece the body together yourself, and in doing so become part of the work. It is a painting about presence andaboutbeingseen,andthetitle—I'mstillhere—givesitan urgency and tenderness that stays with you long after you've walkedaway.

REBECCA ANTONIOU

YUME

Yume's Want it All is bold, sensuous, and completely unapologetic. A mouth — lips parted, a strawberry and cream resting on the tongue — fills the frame in close-up, rendered digitallywiththelush,almostediblequalityofapainting.There is something playful and something provocative about it in equal measure: desire made literal, appetite made beautiful. Yume works with real technical skill and a sharp sense of humour, and the result is an image that is impossible to walk pastwithoutstopping—whichis,ofcourse,exactlythepoint.

YUME

WantitAll

Digital / 51 x 36cm

YUYA CHUJO

Yuya Chujo's Babel / Tower of Life is a work with genuine presence. A tall, jet-black obelisk rises through the centre of the canvas against a pale, softly textured ground — ancient and monolithic, a form that speaks of human ambition, of reachingupward,ofthestorieswetellaboutwhywebuild.LED light glows around the edges of the frame, giving the whole work a luminous, almost sacred quality. It is a large, commandingpiecethatinvitesyoutostandbeforeitandthink —aboutheight,aboutaspiration,aboutwhatweleavebehind.

YUYA CHUJO

Babel/TowerofLife

Mixedmedia

180 x 89cm

ANNA CHMIELOWSKA

Anna Chmielowska's Father is a portrait of extraordinary tenderness and technical mastery. Rendered entirely in ink through painstaking stippling and hatching, the face of an elderly man in profile emerges from the darkness with astonishing detail — every line and fold of aged skin, every wisp of white hair, recorded with a patience and love that is palpable in every mark. This is a drawing that takes your breathawaynotjustforitsskill,butforwhatitclearlymeantto make: a act of looking at someone beloved, slowly, carefully, foraverylongtime.

ANNA CHMIELOWSKA

Father Ink 29 x 21cm

IMRE HASANIC

Imre Hasanic's Venetian in Alexandria is full of theatrical delight. Two elongated, angular figures — painted in the Cubist-inflected language of carnival and commedia dell'arte — occupy a hazy, atmospheric ground of grey and gold, their geometric faces and costumed bodies suggesting a story that is never quite told. The taller figure stands with a slightly imperious air; the smaller one watches, curious and a little wary. Hasanic paints with great wit and a loose, confident hand,andtheresultisapaintingthatisasentertainingasitis intelligent — one that makes you want to know what happens next.

IMRE HASANIC

DINA EL-SIOUFI

Dina El-Sioufi's The Never-Ending Satyricon is a painting that burns. A volcanic landscape blazes crimson and red behind two figures rendered with raw, urgent brushwork, while fragments of handwritten text — in English, in French — drift across the surface like half-remembered words. El-Sioufi paints with the directness of someone who has something urgent to say, and the scale and colour of the work — all that red, that heat, that sky — gives it a mythic, almost operatic quality. This is painting as testimony, as drama, as a refusal to bequiet.

DINA EL-SIOUFI

TheNever-Ending

PAULA JASZCZYK

Paula Jaszczyk's painting carries its title like a truth acknowledged — something steeled for, not feared. Two abstracted figures in muted sage, lavender, and blue move against a warm golden ground, their forms fluid and open, handsreachingorgesturingtowardoneanotherwithaquality that is both tender and uncertain. Jaszczyk paints with real emotional intelligence, and the work has the feeling of a conversation held at a threshold — a moment of change, bravely faced. It is a painting that speaks quietly but lands deeply.

PAULA JASZCZYK

Itwillbedifferentnow. Itwillbehardernow.

PRZEMYSLAW OLCZAK

Przemyslaw Olczak's Memories is a painting of beautiful simplicity and surprising depth. A shoal of fish — painted in a wonderful variety of blues, greens, and flashes of red — swims through the upper half of the canvas above a warm golden shore, where a striped cloth and a dark bottle suggest a moment of rest, of summer, of time suspended. The division between the two worlds — the teeming, colourful underwater world above and the quiet, warm human space below — gives theworkapoeticqualitythatisentirelyitsown.Itisapainting aboutthewaymemorypoolsanddrifts,anditisquitelovely.

PRZEMYSLAW OLCZAK

Memories/ Acrylic on canvas / 100 x 70cm

RAND ALKISHTAINI

Rand Alkishtaini's Capriccio Wall Lighting transforms the wall itself into something luminous. Mixed media on papyrus paper —teal,gold,silver,andflashesofredandpink—issetwithina solid wood frame from which LED light glows warmly outward, so that the work seems to breathe, to radiate from within. The ancient material of the papyrus and the contemporary use of light create a tension that is wholly satisfying, the old and the new illuminating each other. This is a work that changes with the light around it — and that rewards living with as much as lookingat.

RAND ALKISHTAINI

"Capriccio"WallLighting

Mix media on papyrus paper, LED strip light, solid wood

102 x 72cm

SUSANA MAZZARINO

Susana Mazzarino's The Golden Valley is pure luminous joy. Ribbons of pink, orange, gold, and white flow across the digital canvas in soft, flame-like waves, the colours building toward a blazing centre of almost blinding warmth. It has the quality of light seen through silk, or heat shimmering above summer ground — something elemental and sensuous and completely beautiful. Mazzarino works with real mastery of colour and movement, and the result is a work that fills whatever space it occupieswithwarmthandradiance.Itis,simply,adelight.

SUSANA MAZZARINO

TheGoldenValley

Digital 100 x 150cm

TAJANA VANOVAC SESAR

Tajana Vanovac Sesar's Of Silence occupies a fascinating spacebetweenjewelleryandsculpture,betweenthefunctional and the purely expressive. Two silver bracelets have been transformed into something altogether stranger and more beautiful — their forms swelling into seed-pod shapes, traced with rows of tiny dots, mounted on rough, branch-like handles that feel ancient and organic. They look like ritual objects, or instrumentsfromanotherworld.Sesarworkswithextraordinary delicacy and a wonderful sense of mystery, and these pieces reward the kind of slow, close looking that most objects never askfor.

TAJANA VANOVAC SESAR

Ofsilence

Technique, silver bracelet, jewelry sculpture 17 x 14cm

ZACHARIAS DANIILAKIS

Zacharias Daniilakis's Surma is a portrait of extraordinary presence and quiet dignity. A child's face — painted in oil with remarkable skill and sensitivity — gazes directly outward from beneath a crown of yellow flowers and green leaves, the gaze steady, the expression still and self-possessed. Daniilakis renders skin and foliage with equal care, and the result is a painting that feels both intimate and monumental. This is a work about seeing and being seen — about the particular power of a face that holds your gaze completely and does not lookaway.

ZACHARIAS DANIILAKIS

Dear Artists,

Thank you for being a part of Artio Gallery.

We are thrilled to have such talented artists collaborate with us. We're excited for future collaboration and we wish you all the best in your art career!

Artio Gallery Team

ARTIO GALLERY