Artio Magazine -April Issue

INFINITY –AN INTERVIEW WITH TEODORA NIKOLOVA

I n f i n i t y i n t h e D a r k / 9 0 x 6 0 c m / A c r y l i c p a i n t, a c r y l i c m a r k e r s, g i l d i n g e, p o x y r e s i n, t e x t i l e s, m a r k e r s, l a c e

Connectivity / 100 x 80cm

Structural paste, gilding, casting, acrylic paints

THE LIMITS BETWEEN ORDER AND CHAOS: AN INTERVIEW WITH

PATXI NAVARRO

Patxi Navarro expands the field of photography. His highly innovative images develop the possibilities and potential of the medium in new and unexpected ways. The artist’s large-scale abstract works have a physical material presence that pushes photography away from representation and observation into sculpture and conceptualism Taking his own photographs as source material, Navarro transforms images using digital manipulation, layering, and texture In works such as Fragmented Structure and Residual Energy, the artist appears to be painting with light Images are luminous and dynamic, with forms that seem to move across the surface. In System Under Tension, there appears to be an underlying structure and a sense of barely contained energy beneath. Meanwhile, Chaos in the Cosmos has an enthralling and enigmatic otherworldly quality

System Under Tension / 120 x 80 cm

Digital artwork based on original photography, printed on acrylic (metacrylate) with aluminum backing

Fragmented Structure

120 x 80 cm

Digital artwork based on original photography, printed on acrylic (metacrylate) with aluminum backing

Navarro’s works are powerful because they resist easy explanation. They are unfolding and unresolved. As the artist himself explains, “I aim to create situations of visual uncertainty. My work often explores the limits between order and chaos, form and dissolution, presence and absence. I am interested in images that invite viewers to question what they are seeing and to experience a moment of disorientation that opens space for personal interpretation.” With this sense of uncertainty comes freedom and fluidity. Each piece has a transformative open-endedness.

The artist’s inimitable visual language comes from a place of curiosity Rather than beginning with a predetermined concept, he allows an idea to emerge intuitively. Navarro’s process is intrinsically exploratory and experimental “I allow the image to evolve gradually, searching for a balance between structure and unpredictability. Many works emerge through a dialogue between control and chance until the image reaches a tension that feels visually and conceptually resolved,” he elaborates. Navarro explains that his palette evolves through the process of image creation and is influenced by contrasts, material textures and atmosphere Colour is an essential ingredient in this alchemy, informing the rhythm, structure and energy of a piece

ANNE DELUAIN ART

Anne Deluain is an Ireland-based artist, recognised by international curatorial platforms including Boldbrush, Artio Gallery, and Premio Artista d’Europa 2025.

In Ruby In The Vine, Anne Deluain presents a restrained yet evocative landscape where subtle tonal shifts and fluid gestures create a quiet emotional resonance. The composition unfolds with a sense of softness and introspection, inviting the viewer into a space between memory and imagination.

Organic vertical forms and a winding path suggest both movement and stillness, while delicate red accents emerge like fleeting traces of life within a muted atmosphere. Deluain’s approach is intuitive and refined, allowing simplicity to carry depth and meaning Rooted in her exploration of tonal nuance, the work embodies a contemplative elegance, where emotion is expressed with quiet precision

During Miami Art Week, the gravitational pull of mega-fairs like Art Basel remains undeniable Yet increasingly, it is the constellation of satellite and independent fairs among them SCOPE Art Show—that defines the week’s cultural and commercial vitality. These fairs no longer operate as mere peripheries; they have become critical engines for experimentation, discovery, and recalibration within the contemporary art ecosystem

Founded in 2002, SCOPE positioned itself early as an “incubator” for emerging galleries and artists, foregrounding multidisciplinary programming and experiential formats Over two decades, it has expanded into a global platform, drawing tens of thousands of visitors annually and offering an alternative to the institutional polish of blue-chip fairs. What distinguishes SCOPE and its peer network is not simply scale, but ethos: a deliberate embrace of risk, hybridity, and accessibility.

The rise of the independent fair is inseparable from broader structural shifts in the art market. Traditional fairs, increasingly corporatized and cost-prohibitive, have prompted galleries particularly mid-size and emerging programs to seek more agile platforms. Independent models, such as Independent Art Fair, operate through invitation or nomination systems, privileging curatorial coherence over volume and positioning themselves “at the intersection of an art fair and a biennial.”

The architectural background of Lebanese-Mexican artist Carlos Abraham informs his photographic vision, particularly in his sensitivity to form, structure, and spatial composition. This is particularly true of Abraham’s newest body of work. In previous collections, the photographer has explored the male form in relation to classical architectural contexts In current pieces such as Columnas and Frozen Mountains, the artist focuses his lens on structural and decorative architectural details

CARLOS ABRAHAM

o t o g r a p h y

o r t a d a / P h

o n t r a p

C

ANTONIO RANA

EVA TOTH

Hungarian artist Eva Toth channels her creativity into a breadth of different media, from make-up artistry to painting and sculptural book art Uniting her practice is an appreciation of beauty and a commitment to creativity as a path to self-knowledge Whether painting on the body or a book cover, the artist’s work is imbued with a precious, decorative quality. Pieces such as Memoirs of Casanova, The Peacock and Book Turquoise have the presence of unearthed artefacts. Their softly textured layered surfaces reveal traces of female faces, delicate patterns and gold accents Colours suggest symbolic meanings and collaged images hint at mysterious narratives. Toth’s work is unmistakably her own, embodying a unique visual language that exists at the intersection of fashion, photography, applied arts, and fine art.

DESIRÉE MELANIE FÜRST

C o l o r s / 9 0 x 6 0 c m

L a n d o f

A c r y l i c a n d t e x t u r e p a s t e o n c a n v a s

a n c e o f t h e C o r a l s / 3 0 x 2 5 c m / A q u a r e l l e

E v o k i n g T h e S u b j e c t i v e ( M o r f e uL o r d O f D r e a m s )

1 0 0 x 7 0 c m A c r y l i c o n c a n v a s

KAREL VEREYCKEN

In Farmers of Sudan, Karel Vereycken constructs a powerful visual metaphor where human presence, animal forms, and landscape converge into a layered narrative of memory, labor, and identity. Through his masterful use of line and texture, the composition oscillates between figuration and abstraction, inviting the viewer into a space where meaning is discovered rather than imposed.

The monumental horns and silhouetted figures evoke both strength and vulnerability, while the earthy palette reinforces a sense of timelessness Vereycken’s work resists literal interpretation, instead unfolding through poetic association and quiet tension

Rooted in his exploration of metaphor over symbolism, the piece reflects a deeply humanistic vision, where art becomes a space for reflection, empathy, and intellectual engagement. Karel Vereycken is a French-based artist and printmaker, recognized for his profound engagement with metaphor, art history, and humanistic themes across cultures and time.

The rise of platforms such as Artsy has fundamentally reshaped how contemporary art is circulated, accessed, and valued. Positioned at the intersection of marketplace, archive, and media outlet, Artsy exemplifies what might be termed the “platformization” of the art world

At its core, Artsy functions as a digital infrastructure linking galleries, collectors, and institutions. Its viewing rooms particularly those aligned with major art fairs extend the temporal and geographic limits of exhibition, enabling works to be encountered and acquired beyond the physical booth. This model gained particular momentum during the pandemic, but its persistence suggests a more permanent transformation

Crucially, Artsy does not merely replicate the gallery experience online; it reframes it. The platform’s algorithmic logic organizing works through filters, recommendations, and price transparency introduces a new mode of navigation. Art becomes searchable, sortable, and comparable, aligning it, however uneasily, with the logics of e-commerce

For galleries, this shift presents both opportunity and tension. On one hand, Artsy expands reach, connecting programs to global audiences and facilitating sales outside traditional networks. On the other, it introduces a degree of standardization: artworks appear within a unified interface, potentially flattening distinctions between contexts and curatorial frameworks

YIDI WANG

Blueprint

Multi-media Installation

Imprint

Multi-media Installation

L u m i è r e d e s o i e / 9 1 x 1 2 0 c m / A c r y l i c, g o l d l e a f a n d e p o x y

Anastasia II

120 cm x 95cm

Marble & oil on perforated aluminium

120 x 95cm

Marble & oil on perforated aluminium

Goddess of Creation

RALF KUNSTMANN

Abstract Pattern 171 / 56 x 83cm Digital

Abstract Pattern 172 / 56 x 83cm

Digital