WANAFOTO: self-taught

Showing posts with label self-taught. Show all posts

25/10/25

Domenico Zindato @ Andrew Edlin Gallery, NYC - 'On the Dotted Line' Exhibition + A Book offering the most comprehensive view of his recent work to date

Domenico Zindato: On the Dotted Line

Andrew Edlin Gallery, New York

November 7 – December 20, 2025

Andrew Edlin Gallery present On the Dotted Line, an exhibition of recent paintings by Domenico Zindato—his fifth with the gallery and the first solo presentation in our new space in Tribeca. A hardcover publication dedicated to the artist accompanies the exhibition, offering the most comprehensive view of his recent work to date. A Kabinett presentation of Zindato’s work will be held at Art Basel Miami Beach (December 5–8).

Domenico Zindato: On the Dotted Line

Published by Andrew Edlin Gallery, 2025

Book Cover courtesy of Andrew Edlin Gallery

The accompanying monograph provides critical context for the exhibition with an essay by Julián Gómez Sánchez, a conversation between Zindato and Gallery Director Aurélie Bernard Wortsman, more than 30 full-color plates, and archival materials that reveal the artist’s influences and process. As a lasting record of this pivotal moment in his career, the book underscores Zindato’s shift from drawing to painting and places his work within a broader Latin American arthistorical and cultural framework.

Domenico Zindato (b. 1966, Reggio Calabria, Italy) is known for his intricate, trance-like compositions rooted in ritual, intuition, and meditative mark-making. For decades, he concentrated on detailed drawings in ink and pastel on paper, producing labyrinthine works that tread between the ecstatic and the contemplative. In this new body of work, he expands into painting on both canvas and dried leaves. Although he first experimented with canvas in the 1980s, Domenico Zindato did not return to the medium until 2020, this time working with acrylic paints and Flashe—a process he likens to acupuncture: “where the skin is activated by needles—I use my fingers to touch the blank canvas, delineating lines and shapes that I intuitively develop.” This tactile method has been central to his work since the early 1990s, when, while in Paris, he received a box of soft pastels from the legendary Sennelier store. Rubbing pigment directly with his fingers became a formative gesture—bridging body and surface, energy and image.

Based in Mexico since the late 1990s, Domenico Zindato draws deeply from the country’s visual culture: the radiant hues of Oaxacan textiles, the geometric patterns of Zapotec temples, and the visionary palette of Huichol yarn paintings and beadwork. These influences intertwine with his own experiences with peyote and the vivid inner imagery inspired by its use. His small paintings on dried leaves, collected from his surroundings, evince a reverence for nature imbued with fragility and impermanence—these intimate works seem to breathe with life. Across both large canvases and delicate leaves, Zindato’s compositions pulse with organic patterning, recurring symbols, and motifs that stretch beyond the frame, evoking mythological cycles and the interconnectedness of ecosystems.

A highlight of the exhibition, …..each one its special radiance….., is a large-scale painting that incorporates an excerpt from Marcel Proust’s Time Regained. Handwritten in Zindato’s signature cursive script, the words—“Instead of seeing one world only, we see that world multiply itself, and we have many worlds, each one with its special radiance”—undulate across a dense, foliage-like ground. The phrase resonates as both a reflection on perception and a metaphor for Zindato’s art: a vision of worlds multiplying, expanding, and connecting.

Scholar Julián Gómez Sánchez places his visual language within a broader continuum of Latin American artists engaged with themes of transcendence and interconnectedness, drawing a parallel with Shipibo-Conibo artist Sara Flores, whose kené designs embody flora, fauna, and spiritual realms. Zindato’s work, too, emerges as a meditation on the unseen threads that bind us—to one another, to the natural world, and to the sacred.

Discovered in the 1990s by the maverick art dealer Phyllis Kind (1933-2018), Domenico Zindato has been represented by Andrew Edlin Gallery since 2009. His work has been featured in major exhibitions including As Essential as Dreams: Self-Taught Art from the Collection of Stephanie and John Smither at The Menil Collection (2016) and The Hidden Art: Twentieth and Twenty-First Century Self-Taught Artists from the Audrey B. Heckler Collection, co-published by Rizzoli and the American Folk Art Museum (2017). A previous gallery publication, Domenico Zindato: Recent Drawings (2013), includes an essay by critic Edward M. Gómez. His works are held in the permanent collections of the American Folk Art Museum (New York), The Menil Collection (Houston), the Philadelphia Museum of Art, the Milwaukee Art Museum, the North Dakota Museum of Art, and the Whitworth Gallery (Manchester, UK).

ANDREW EDLIN GALLERY

392 Broadway, New York, NY 10013

www.edlingallery.com

27/08/25

Grandma Moses: A Good Day’s Work @ Smithsonian American Art Museum, Washington + Other Venues

Grandma Moses: A Good Day’s Work

Smithsonian American Art Museum, Washington

October 24, 2025 - July 12, 2026

Grandma Moses

We Are Resting, 1951

Oil on high-density fiberboard

Smithsonian American Art Museum,

Gift of the Kallir Family, in Memory of Hildegard Bachert, 2019.55,

"Grandma Moses: A Good Day’s Work" repositions Anna Mary Robertson “Grandma” Moses (1860–1961) as a multidimensional force in American art, whose beloved painted recollections of rural life earned her a distinctive place in the cultural imagination of the postwar era. Drawing its name from Moses’ reflection on her own life as a “good day’s work,” the exhibition reveals how Moses’ art fused creativity, labor and memories from a century-long life.

“Grandma Moses: A Good Day’s Work” is anchored by artworks from the Smithsonian American Art Museum’s collection, including many of Moses’ most celebrated paintings. The 88 works in the exhibition are drawn from the museum’s holdings and loans from private collections and public museums and institutions. This selection of objects, primarily created between the late 1930s and the artist’s death in 1961, are woven into a narrative that explores lesser-known aspects of Moses’ life, including the years she spent living, working and raising her family in post-Reconstruction Virginia. Later sections of the exhibition probe Moses’ artistic evolution as the labor of artmaking displaced the hours once dedicated to family and farming, and her personal transformation from farmwife to famous artist in Cold War America. Photographs, ephemeral objects and Moses’ own words—drawn largely from her autobiography—illuminate artworks that were deeply connected to the artist’s life.

The exhibition is organized by Leslie Umberger, senior curator of folk and self-taught art, and Randall Griffey, head curator, with support from curatorial assistant Maria R. Eipert. The exhibition will travel following its premiere in Washington, D.C.

“Grandma Moses was instrumental in bringing self-taught art to the forefront of American consciousness,” said Jane Carpenter-Rock, Acting Margaret and Terry Stent Director of the Smithsonian American Art Museum. “As one of the first major museums to champion and collect works in this tradition, our museum is honored to shed new light on Grandma Moses’ practice and engage new generations by becoming a major resource for studying her art and legacy.”

“Moses was many things to many people: she was an ambassador for democratic American values, a folk hero and pop-culture celebrity, a comforting grandmotherly figure representing a bygone age, an inspiring elder reinventing herself in retirement and an untrained artist presenting what was then considered ‘modern primitivism’ as a surprisingly successful alternative to abstract art,” Leslie Umberger said. “‘A Good Day’s Work’ reconciles these disparate truths while centering on Moses’ art and the life that inspired it—one shaped by ingenuity, labor, a doggedly positive outlook and a distilled understanding of a life well lived.”

In a lifetime that spanned the presidencies of Abraham Lincoln and John F. Kennedy, the artist experienced seismic historical shifts, including the post-Reconstruction and civil rights eras and two world wars. She began painting in earnest in her late 70s and was 80 when gallerist Otto Kallir introduced her to the American public with her first solo exhibition. In her artworks, Moses melded direct observation of nature and life as she saw it, resulting in idiosyncratic, yet engaging, stories of America. “Grandma Moses” as the press would indelibly dub her, quickly became a media sensation, achieving a controversial celebrity status that surpassed the female artists of her day and remains compelling today.

Through a series of gifts and pledges of 15 important paintings from Kallir’s family, along with gifts from several additional donors and select museum purchases, the museum is establishing a destination-collection of 33 works by Moses, balanced across styles, dates, themes and historical moments. A major asset within the museum’s internationally recognized collection of work by folk and self-taught artists, the Moses collection will comprise significant works, from her earliest extant painting, “Untitled (Fireboard)” (1918), to iconic pieces including “Bringing in the Maple Sugar” (1939), “Black Horses” (1942) and “Out for Christmas Trees” (1946), to her last completed painting, “The Rainbow” (1961), all of which are represented in the exhibition. Also on view will be the first painting donated to the museum by the Kallir family in 2016, “Grandma Moses Goes to the Big City” (1946), a rare work in which Moses includes herself in the depicted narrative. The museum will be a premier Moses repository for scholars and the public.

Artist Grandma Moses

Anna Mary Robertson Moses was born in Greenwich, New York, in 1860 and raised on a farm. From early in her life, she worked as a hired girl, helping neighbors and relatives with cleaning, cooking and sewing. As a child, her father had encouraged her to draw on old newsprint, and she used berry and grape juices to color her images.

Robertson married at 27 and moved, with her new husband, Thomas Salmon Moses, to Virginia’s Shenandoah Valley. There, over the course of the next 18 years, the couple raised five children and worked as dairy farmers, shaping a highly successful butter-making business. Moses did not start painting until she was in her late 70s, after her children had moved on and her husband had died, looking for something, as she put it, with which “to keep busy and out of mischief.” She made paintings that merged fact with fiction and personal with national history, drawing on her own memories as well as family and local lore. She began her foray into the limelight by presenting her pictures at country fairs, alongside her prize-winning fruit preserves.

In 1938, a collector saw her paintings in the window of a local pharmacy and bought them all. Two years later, Kallir—an art dealer and recent immigrant who had fled the Nazi regime in his native Austria—gave Moses her first solo exhibition. In the aftermath of World War II, Moses was seen as a global ambassador for democratic American values, and her unpretentious sensibilities and the scenes of family life and holidays enchanted a populace weary from conflict and rapid change. Following a press event and presentation of her paintings at Gimbels department store, the media dubbed her “Grandma Moses.” Gradually, ‘Grandma Moses’ became a household name. In 1947, Hallmark licensed the rights to reproduce her paintings on greeting cards. Reproductions on drapery fabric, china and other consumer goods followed, along with magazine features, television and radio interviews and an Academy Award-nominated documentary. Moses died at 101 in 1961, after painting more than 1,500 images.

Publication: A richly illustrated catalog, published in association with Princeton University Press, will accompany the exhibition. It is co-edited by Umberger and Griffey, with a foreword by Carpenter-Rock and contributions by Erika Doss, Eleanor Jones Harvey, Stacy C. Hollander, Jane Kallir and Katherine Jentleson. The book will be available for purchase ($60) in the museum’s store and online.

SMITHSONIAN AMERICAN ART MUSEUM

8th and G Streets, NW, Washington, DC 20004

americanart.si.edu

15/06/25

Nima Nabavi @ The Third Line, Dubai - "Sunrise at the Vortex" Exhibition

Nima Nabavi: Sunrise at the Vortex

The Third Line, Dubai

15 June – 27 July 2025

Nima Nabavi

Roswell2223, 2023

Ink on Canvas, 549 x 182 x 2 cm

The Third Line presents Sunrise at the Vortex, the second solo exhibition by Nima Nabavi at the gallery. Featuring a selection of new works made by the artist between 2022 and 2025, the show marks a significant evolution in his practice, both conceptually and technically. Rooted in his travels to sites across the world considered to be energy centers by different communities, the works reflect Nabavi’s deepened commitment to introspection, geometry, and modes of making that embrace technology alongside traditional tools.

Spending quiet time in these sites, the artist forged a stronger connection to himself and the universe, which prompted a turn to his practice as a way for meditation and self-exploration. Created in concentrated, inspired bursts within makeshift studios in Roswell, Brooklyn, Los Angeles, and Dubai, the resulting works exude increasing complexity and intensity in both form and color.

Roswell2223 (2023), the largest handmade piece Nima Nabavi has created to date, consists of countless lines that create a brilliant, crystalline surface. Drawn painstakingly over the course of a year—often while crouching over the canvas to trace each line, assisted only by a nine-foot ruler—the piece reflects the artist’s belief in life: “If the intention to maintain a pattern is there, then over time, all these lines will form the pattern—like life, in the sense that if we maintain the intention to live with kindness, openness, and consistency, we will lead that kind of life, even if we may have some bad days on the way.” Collectively, the geometric forms of the work map out a universe that invite viewers to lose themselves in.

Simultaneously, reflections on the meaning of artmaking have inspired the artist to broaden the scope of his methodology. Nima Nabavi has experimented with various new media and technology in recent years, creating works such as Signal (2025), a site-specific Digital Façade Commission by Art Jameel, displayed at Jameel Arts Centre, Dubai, UAE in April 2025.

In Sunrise at the Vortex, Nima Nabavi presents a series of works made using an architectural pen-plotter typically employed to print building blueprints. Hand-drawn digital compositions are rendered line-by-line by the machine utilizing the same tools as the artist, resulting in richly layered pieces that retain his signature intricacy while allowing for greater depth. Far from reducing his practice, technology becomes a means of enriching it, as it enables the artist to conceive and realize geometric forms that would otherwise be impossible.

As Nima Nabavi recounts: “Growing up, I witnessed my grandfather, who was a self-taught geometric artist, no longer being able to execute his ideas – which were becoming ever-complex over the years – as his body grew weaker with age.”

This memory underscores the artist’s decision to integrate technology into his process as one not to delegate creativity, but to carve out space for introspection and experimentation, as well as to ensure its sustainability and expansion. Collectively, the works in the exhibition reflect Nabavi’s evolving relationship with his practice – one that honors both his past and the possibilities ahead.

Artist Nima Nabavi

Born in Iran in 1978, Nima Nabavi is a self-taught artist based between Dubai and New York. His practice centers on geometric abstraction and its connection to the natural world, quantum processes, and psychedelic phenomena. Drawing on an ever expanding set of tools – ranging from the traditional to the technological – Nima Nabavi creates grid-based compositions of elaborately layered, ordered forms, inspired by his grandfather, who was a master geometer for over 50 years. Nabavi’s mathematical approach and repetitive numeric symbolism rely heavily on advanced planning, precise calculations, and self-developed methodologies to ensure the vital structural accuracy of each work. This contemplative execution of intricate geometries aims to build complexity out of simple forms and reveal the emergent harmony and inherent beauty of our shared reality.

Selected solo exhibitions include Sunrise at the Vortex, The Third Line, Dubai, UAE (2025); Visiting, Roswell Museum, New Mexico, USA (2023); and 1,2,3, The Third Line, Dubai, UAE (2018). Nima Nabavi’s group exhibitions include Geometry and Art in The Modern Middle East, Misk Art Institute Jeddah, Saudi Arabia (2023); Sharjah Islamic Arts Festival – ‘Gradate’, Sharjah Museum of Art, Sharjah, UAE (2022); Ways of Seeing Abstraction - Works from the Deutsche Bank Collection, Palais Populaire, Berlin, Germany (2021); There is Fiction In The Space Between, The Third Line, Dubai, UAE (2020); Crafting Geometry: Abstract Art from South and West Asia, Sotheby’s, New York, USA (2020); Fragments, Yesterday and Today, Gateway, Abu Dhabi Art, Abu Dhabi, UAE (2019); Your Favorite Artist's Favorite Artist #2, Joshua Liner Gallery, New York, USA (2019); Horizon, Sharjah Islamic Arts Festival, Sharjah, UAE (2018).

Nima Nabavi’s work is part of private and public collections, including the Deutsche Bank Collection, Berlin, Germany and the Jameel Arts Centre, Dubai, UAE.

THE THIRD LINE

Alserkal Avenue, Warehouse 78, Street 8, Al Quoz 1, Dubai, UAE

thethirdline.com

25/05/25

Ayako Rokkaku @ Thyssen-Bornemisza National Museum, Madrid - "For the Moments that you feel Paradise" Exhibition

Ayako Rokkaku

For the Moments that you feel Paradise

Thyssen-Bornemisza National Museum, Madrid

23 May - 7 September 2025

Ayako Rokkaku

live-painting

Image © Francis Tsang

Ayako Rokkaku

Untitled, 2021

Acrylic on canvas, 117 x 117 cm

Courtesy of the artist and König Galerie

Ayako Rokkaku

Untitled, 2001-2006

Acrylic on cardboard

Variable dimensions

Courtesy of the artist and König Galerie

Ayako Rokkaku

Untitled, 2024

Bronze and acrylic, 43 x 30 x 30 cm

Courtesy of the artist and König Galerie

The Thyssen-Bornemisza National Museum is presenting an exhibition dedicated to the Japanese artist AYAKO ROKKAKU (born Chiba, 1982) which traces her artistic evolution through around thirty early and recent works, including paintings, sculptures and installations. For the Moments that you feel Paradise is the latest event in the exhibition programme devoted to the collection of Blanca and Borja Thyssen-Bornemisza, which includes two paintings by the artist. It reveals a universe in constant transformation, in which past and present intermingle and where paradise is not a destination but a fleeting sensation, just beyond reach but always present.

Known for her large-format canvases painted with her fingers, Ayako Rokkaku is an artist who creates immersive worlds that move between the tangible and the imaginary. Her dream figures first appeared in her earliest paintings, which include motifs that have subsequently recurred in her work, such as fish. Decades later these elements have reemerged in new compositions which reflect the artist’s ongoing fascination with change. In Rokkaku’s work nothing is fixed: figures emerge and dissolve, evoking the way clouds constantly change in the sky.

A self-taught artist, Ayako Rokkaku began painting at the age of 19. Experimentation with techniques and materials led her to apply acrylic paint directly with her fingers, a process that she finds natural and essential, and which adds energy to her artistic process. At the outset she employed cardboard as a support, which she tore before or after painting in order to create organic and spontaneous forms and which offered her more freedom than canvas or industrial paper. In her quest for her own style Ayako Rokkaku has continued to experiment with different ideas, such as highlighting motifs with bright pink or including motifs based on creatures with large eyes.

Ayako Rokkaku

Untitled, 2011

Acrylic on canvas, 100 x 100 cm

Courtesy of the artist and König Galerie

Ayako Rokkaku

Untitled, 2012

Acrylic on canvas, 100 x 100 cm

Courtesy of the artist and König Galerie

In 2011 Ayako Rokkaku moved from Japan to Berlin where she started to use pencil and crayons and also employed more childlike lines in her compositions with the aim of maintaining both a child’s gaze and the world of childhood. Interested in Abstract Expressionism and artists such as Jackson Pollock and Cy Twombly, whose work she had encountered years before in New York, she now placed more importance on abstract backgrounds in her paintings, in addition to figures or motifs applied to them. Playing with several layers, Rokkaku started adding colours and shapes in front of and behind a principal figure. Multicolored clouds now start to appear in these backgrounds, one of the natural elements most present in the work of this artist, who is attracted to their changing shapes.

In recent years Ayako Rokkaku has also focused on sculpture, firstly in wood and then in bronze, a new approach which poses the challenge of capturing the shapes, style and energy transmitted by her paintings but in three dimensions.

Ayako Rokkaku

Untitled, 2024

Bronze patined, 83 x 57 x 45 cm

Courtesy of the artist and König Galerie

Ayako Rokkaku

Untitled, 2024

Acrylic on canvas, 90 x 60 cm

Courtesy of the artist and König Galerie

Ayako Rokkaku

Paradise, 2025

Acrylic on canvas, 300 x 600 cm

Blanca y Borja Thyssen-Bornemisza Collection

The artist’s most recent and ambitious work is Paradise (2025), a monumental 3 x 6-metre diptych that pays tribute to Tintoretto’s canvas entitled The Paradise in the Museo Thyssen-Bornemisza. This is the first time that Ayako Rokkaku has created a work inspired by another one. Painted around 1588 to decorate the Sala del Gran Consiglio in the Doge's Palace in Venice, Tintoretto's canvas depicts Christ crowning the Virgin beneath the dove of the Holy Spirit and surrounded by angels, cherubim and the religious hierarchies, all floating among clouds and stars. In her version Ayako Rokkaku maintains the dynamic movement of the clouds while expressing her own Paradise in which Christ, crowned with delicate flowers, offers Mary a garland. The work is a compendium of the artist's universe: fish gliding alongside angels; seated rabbits forming circles and ducklings flying up to the sky.

Ayako Rokkaku does not usually make use of sketches, or a predetermined palette and the starting point of her painting is usually improvisation. In addition, since the outset she has made use of “live painting” with the intention of sharing the experience of artistic creation with the public. The artist will offer a pictorial performance at both the inauguration and during the period the exhibition is open.

Publications: Catalogue with texts by Danaï Loukas and Guillermo Solana

Curator: Guillermo Solana, Artistic Director of the Museo Nacional Thyssen-Bornemisza

Coordinator: Paula Luengo, head of the Department of Exhibitions, Museo Nacional Thyssen-Bornemisza

MUSEO NACIONAL THYSSEN-BORNEMISZA

THYSSEN-BORNEMISZA NATIONAL MUSEUM

Paseo del Prado, 8. 28014, Madrid

www.museothyssen.org

10/05/25

Anna Zemankova @ Gladstone Gallery, NYC - An exhibition of drawings by Czech artist Anna Zemánková (1908–1986), spanning her oeuvre from the 1960s-1970s

Anna Zemánková

Gladstone Gallery, New York

May 3 – June 14, 2025

Gladstone Gallery presents an exhibition of drawings by Czech artist Anna Zemánková (1908–1986), spanning her oeuvre from the 1960s-1970s. This exhibition emphasizes the remarkable foresight of Zemánková’s work through an art historical lens, reflecting her trailblazing influence in abstraction and seeks to expand the psychological and spiritual realms of the form. The works in the show comprise rarely seen incandescent botanical drawings and pastel works on paper.

To engage with Zemánková’s art is to enter a realm of fluid metamorphosis. Her compositions pulse with biological urgency, as if each line were a living organism. Untitled (1970s), reminiscent of the zither her father once played at weddings, radiates effervescent yellows laced with electrifying blues, its thorns piercing velvety curves. Fibrous strings extend like tentacles or arpeggios of color. Here, sound becomes substance in a stunning manifestation of synesthesia: a shimmering grid of magnified cork-cells vibrate with Charles Lloyd’s spatial melisma. Zemánková’s visual language thrives on the duality of microscopic precision and cosmic abstraction, a tension mirroring her process—trance-like improvisation guided by innate musicality.

A dentist, mother, and grandmother, Anna Zemánková channeled life’s multiplicities into creations that defy simple categorization. While often compared to mediumistic artists such as Kunz or Klint, Zemánková’s work rarely touches on spirituality directly, instead rooting itself in the subconscious—what the Surrealists termed “pure psychic automatism.” In her quotidian back-and-forth between labor and leisure, Anna Zemánková found a way to forge her cellular patterns into networks of visual information and stimulation, liberating herself from the physical confinement imposed by her diabetes. Her refusal to title works, another deliberate act of liberation, invites viewers to project their own narratives onto her wildly imaginative botany. Cleaving open otherworldly spaces with her art, Zemánková’s legacy lies in her fantastical elsewhere.

Born in Moravia, Anna Zemánková came of age during the collapse of the Austro-Hungarian Empire and the birth of an independent Czechoslovakia in 1918. This era fostered a fervent patriotism, marked by a devotion to preserving cultural traditions such as folk costumes, songs, fairy tales, and ornamental drawings. These influences ignited Zemánková’s early passion for painting. Though gifted in depicting colorful, realistic landscapes, her parents discouraged her from attending art school, redirecting her toward dentistry. Amid the turmoil of political and social upheaval, Anna Zemánková followed a conventional path: marriage, motherhood, and grandmotherhood—roles that temporarily eclipsed her artistic ambitions.

Zemánková’s artistic rebirth began serendipitously. In the late 1950s, her sons Slavomír and Bohumil discovered a forgotten suitcase filled with her early paintings in the family basement. Recognizing the vitality of these works, they encouraged her to resume painting—a therapeutic act that blossomed into an astonishing late-career surge. Though self-taught, Anna Zemánková was no recluse. Her son Bohumil and daughter-in-law Markét a, both trained sculptors, admired her intuitive genius, as did a circle of cultural figures including artist Jan Reich, filmmaker Vlastimil Venclík, and even First Lady of the Czech Republic, Olga Havlová. Zemánková actively courted public recognition, hosting an open house several times over the years (1964, 1967, 1968 and 1970). Her work was exhibited at Prague’s Theatre on the Balustrade in 1966 and later shown at London’s Hayward Gallery in 1979.

In the quiet hours before dawn, she would rise in her Prague apartment, surrounded by real and artificial flowers, and surrender to the classical music of Beethoven and Janáček or the Jazzy Blues of Charles Lloyd. These solitary sessions, lit by the soft glow of imagination, became her sanctuary. With paper as her stage, she conjured a universe of pulsating tendrils, succulent petals, and coiled organic forms—a paradise of biomorphic flowers that blurred the boundaries of reality. Born from the shadows of personal suffering, her work invites the viewer into a kaleidoscopic garden where beauty and the grotesque intertwine, where music morphs into matter, and where creation itself becomes transcendence.

This exhibition is presented in collaboration with the Estate of Anna Zemánková and Cavin-Morris Gallery.

“Sure, I’ll draw you something, I’ll draw you one of my fantasies.”
—Anna Zemánková

ANNA ZEMANKOVA is one of the great artists of the twentieth century and a pivotal figure in the Art Brut pantheon, alongside Jeanne Tripier, Madge Gill, Aloise Corbaz, and Emma Kunz. Her work has been featured in international solo and group exhibitions since 1971, preceding appearances at the Venice Biennale (2013 and 2024). Among her most significant exhibitions are Outsiders at London’s Hayward Gallery (1980) and the São Paulo Art Biennial (1981). Posthumous retrospectives include the High Museum of Art, Atlanta (1997); Slovak National Gallery, Bratislava (2007); Museum Montanelli, Prague (2011); Saarland Gallery and European Art Forum, Berlin (2011); Museum of Art, Kobe, and Hiroshima City Museum of Contemporary Art, Japan (2012); and Collection de l’Art Brut, Lausanne (2017). Her work resides in public collections such as the Milwaukee Art Museum, WI; American Folk Art Museum, New York, NY; Museum of International Folk Art, Santa Fe, NM; Arnulf Rainer Museum, Baden, Austria; and private collections including the abcd collection, Paris; Centre Pompidou, Paris; LAM, Musée d’art Moderne, d’art Contemporain et d’art Brut de Lille Métropole, Villeneuve-d'Ascq; Boston Fine Arts, Boston,and The Museum of Everything, London.

GLADSTONE GALLERY

130 East 64th Street, New York, NY 10065

www.gladstonegallery.com

22/03/25

Gautier Willaume: Abstract Paintings, 2025 - "Irregular Vertical Lines" - 17 Paintings Online

Gautier Willaume

Irregular Vertical Lines

Abstract paintings, 2025

Gautier Willaume