Acquired Artists

Jennifer Carvalho (b.1980) is a contemporary Canadian artist whose practice centers on reconstructing the past in the present. By reframing artworks from the Renaissance and medieval eras, she brings historical occurrences into contemporary focus—paying close attention to bodily gestures, architecture, jewelry, and garments. Her work is deeply research-based, often deconstructing inherited notions of femininity through painting, challenging the ways women were historically represented in art. Carvalho combs through history to trace ideas back to their origins and rearticulates them in a contemporary context. Her influences include the writings of Mark Fisher and Silvia Federici, and the works of artists such as Jan van Eyck, Piero della Francesca, Agnolo Bronzino, and Giotto.

She recently presented at CICA Vancouver from June 27 to August 10, 2025, where her exhibition, “An Archive of Gestures”, invites visitors to explore a space where time folds in on itself and echoes of the past linger in the present.

Ben Cowan was born and raised in Ann Arbor, Michigan. He received a BFA from the School of the Art Institute of Chicago and an MFA from Indiana University. The artist can be spotted examining plants and buildings as he walks to and from his studio in Brooklyn, New York. Occupationally, Cowan has worked in the studio of Jeff Koons and presently as a Scenic Artist for motion pictures, both roles have increased Cowan’s resolve for refined painting techniques, experimentation with process, and a keen eye for illusions. In his work, Cowan draws inspiration from urban landscapes and gothic architecture, blending observed places, personal objects, and religious abstractions to create paintings that bridge reality and illusion, personifying the interpersonal and the supernatural.

Cowan’s work has been shown in solo and group shows throughout the United States including New York City’s Deanna Evans Projects, 550 Gallery, The Painting Center, and Spring Break Art Show. He has been featured by Manifest Gallery’s International Painting Annual and The Brooklyn Review, and also mentioned in articles from cultbytes.com, The Wall Street Journal, and Vice.com. Cowan’s work is in private and public collections including The University of Scranton, Ann Arbor District Library in Michigan, and The Rockefeller Archive Center in Sleepy Hollow, NY.

Archie Geotina is a Philippine intermedia artist known for his murals, brand collaborations, graphic design, and installations for public and local brands. He is heavily influenced by Philippine street culture.

Born and raised in Manila, he is based in Siargao Island, with roots in Dinagat Island, Surigao Del Norte. Geotina has evolved into an artist reacting to the vibration of the developing world, with rich insight into how new power should and can operate in modern culture. He considers creatives as a new power and the youth always to be the leaders of the world. Growing up in a setting filled with colonial influence, the extreme social disparity in densely-populated areas, and religious undertones, his work challenges the preconceptions of how the media and politics use reductive advertising strategies.

Sophia Heymans (b. 1989, Minneapolis, MN) grew up on her family's farm in Central Minnesota and gravitated towards art-making at an early age. She attempts to paint landscapes from a non-dominant perspective, confronting the weighted history of American landscape painting and challenging viewers’ sense of rank within the environment. Heymans received a BFA in painting from the Rhode Island School of Design in 2012 and currently lives and works in Brooklyn, NY. She has exhibited with The Valley (Taos, NM), Meyer Riegger (Berlin, Germany), 1969 (New York, NY), Nino Mier (Los Angeles, CA), and Fortnight Institute (New York, NY), among others.

Maciej Kość graduated from Edinburgh College of Art in 2024 and is now continuing his studies at the prestigious London’s Royal College of Art.

Maciej Kość metabolizes many widely disparate styles from classic painting, Baroque, Mannerism, through postmodern maximalism, to children’s book illustrations. He draws energies from the sublime nineteenth-century landscape paintings (e.g., Hudson River School), the axiomatic beauty of pre-Raphaelites, and John James Audubon’s birds. Kość also admires contemporary artists such as British painter Peter Doig’s subtle poignancy that grows on you, Walton Ford’s neo-naturalistic illustrations of imagined zoological specimen, and more recently Thomas Woodruff’s baroquely ornate dinosaurs. Kość’s strange imagery sometimes seems to augur a resurgence of interest in literary mock epics, like Ignacy Krasicki’s Mouseiad, or the illustrations of Jean de La Fontaine's fables. But the artist deeply integrates those inspirations into a coherent, unique and contemporary style of his own.

Leah Ying Lin (林瑛) is a New York–based multidisciplinary artist crafting kinetic sculptural spectacles through metallic ceramics, 3D-printed metal, creative coding, and performance art. Her practice evokes living sculptures in motion, where cosmic mythologies, cutting-edge technology, and human longing converge. Visually situated between the futuristic and the ancestral grounded in the concepts and strategies of future archaeology, her work bridges supernatural mythologies, traditional craft, and East Asian aesthetics and techniques. Lin’s sculptures balance the rigidity of aluminum and metallic ceramics with the ethereal softness of amorphous shapes—expressing a feminine force both steely and sensuous. Weaving breathable kinetic mechanisms with projection mapping, sound, scent, and exotic plants she cultivates, Lin creates immersive realms that challenge and expand how sculpture engages the viewer.

Rithika Merchant is a visual artist from Bombay (Mumbai), India. Her work explores both comparative mythology as well as science and speculative fiction, featuring creatures and symbolism that are part of her personal visual vocabulary. She creates bodies of work that visually link to our collective past as well as imagine possible new worlds which we may come to inhabit.

Nature plays a pivotal role in her work and is emphasised by the use of organic shapes and non-saturated colours. Her paintings and collages are made using a combination of watercolour and cut paper elements, drawing on 17th century botanical prints and folk art.

Merchant received a Bachelor of Fine Arts from Parsons School of Design, New York. Her solo shows include Pillars of Fruit and Bone at TARQ, Mumbai (2025); Terraformation at Kristin Hjellegjerde Gallery, London (2023); Festival of the Phoenix Sun at Galerie LJ, Paris (2022); Birth of a New World at TARQ, Mumbai (2021); Mirror of the Mind at Galerie LJ, Paris (2019); Where the Water Takes Us at TARQ, Mumbai (2017); Ancestral Home at Galeria Bien Cuadrado, Barcelona (2017); Intersections at Galeria Combustion Espontanea, Madrid (2016); and Luna Tabulatorum at Stephen Romano Gallery, New York (2015). 

Caroline Monnet is a multidisciplinary artist of Anishinaabe and French ancestry, originally from the Outaouais region, who lives and works in Mooniyang/Montreal. With a deep interest in communicating Indigenous identity through complex cultural narratives, her artistic and cinematographic work grapples with colonialism’s impact, updating outdated systems with anishinaabeg methodologies.

Her cinematographic work has been screened at numerous festivals around the world, including the Toronto International Film Festival (Canada), Sundance Film Festival (Utah, USA), Berlinale (Berlin, Germany), Gothenburg International Film Festival (Sweden) and Rotterdam International Film Festival (Netherlands). Her work has also been shown in solo and group exhibitions in Canada, United States and Europe, notably at the Whitney Biennial (New York, USA).

Brandon Morris was born in 2000 in San Diego, California. Brandon studied at Parsons School of Design, where he first began joining techniques from fashion construction into sculpture. His practice explores the boundaries between art, identity, and dressmaking, focusing on what he calls “the object of the clothing itself.”

His previous exhibitions include Actress at Europa Gallery (New York), Cathedral Junkie at Pangée (Montréal, 2024), and Cats Live in Loneliness then Die like Falling Rain at Gern en Regalia (New York, 2022). He has also exhibited at the Dr. M.T. Geoffrey Yeh Art Gallery at St. John’s University (Queens, NY), Storage Art Gallery (New York), and NADA Exhibition Space (New York).

His work has been shown at Esther New York, Material Fair (Mexico City), and NADA New York, where it received a mention in The New York Times.

He is a recent recipient of the Mid Atlantic Arts Grant and is currently preparing for his first museum show at The Aldrich Museum in Ridgefield, Connecticut.

Chris Oh is a contemporary visual artist, born in 1982 in Portland, Oregon, and currently lives and works in Queens, NY and Portland, OR.

 Appropriation has long been understood as one of the defining practices of modern art. This art of the copy, however, is not limited to that which came after the age of reproduction. The conscious duplication of preexisting artworks is as present in Warhol as it is in Ovid’s reconfigurations of Virgil. The push and pull between homage and authorship is central to an artist forming their own language; and just as Rubens copied and contorted the work of Titian, Chris Oh co-opts masterpieces from the Western canon in order to forge his own singular oeuvre. Altogether, Oh’s work is a resurrection of art history. To view these delicate paintings is to see the artist recall some of the most sublime reflections on 15th and 16th - century life and use them as mirrors through which to observe our own moment in time.

Maia Cruz Palileo is a multi-disciplinary, Brooklyn-based artist. Migration and the permeable concept of home are constant themes in their paintings, installations, sculptures, and drawings. Influenced by familial oral histories about migrating to the US from the Philippines alongside the troubling colonial history between the two countries, Maia infuses these narratives using both memory and imagination. When stories and memories are subjected to time and constant retelling, the narratives become questionable, bordering the line between fact and fiction, while remaining cloaked in the convincingly familiar.

Maia is a recipient of the Nancy Graves Grant, Art Matters Grant, Joan Mitchell Foundation Painters & Sculptors Grant, Jerome Foundation Travel and Study Program Grant, Rema Hort Mann Foundation Emerging Artist Grant, NYFA Painting Fellowship, Joan Mitchell Foundation MFA Award and the Astraea Visual Arts Fund Award. Maia received an MFA in sculpture from Brooklyn College, City University of New York and BA in Studio Art at Mount Holyoke College, Massachusetts and has participated in residencies at Skowhegan School of Painting and Sculpture, Maine, Lower East Side Print Shop, New York, Millay Colony, New York and the Joan Mitchell Center, New Orleans. They are a recipient of the 2022-23 Sharpe Walentas Studio Program in Brooklyn, New York.

Jamel Robinson is a multidisciplinary artist working in the mediums of abstract expressionist painting, assemblage, sculpture, installation, poetry, and performance. His work serves as a time stamp of the experiences shaping his own life and creative processes and grounds itself in the use of materials and themes associated with the historic and present grief surrounding the Black experience in America.

Robinson’s works have gained him notoriety throughout the United States and abroad, attracting a variety of prominent collectors, curators, gallerists and institutions, which have led to acquisitions for the permanent collections at the Hudson River Museum in New York and the Bunker Artspace Museum in West Palm Beach.

Robinson was celebrated in the New York Times and CBS News for his solo exhibition, “Beauty from Ashes”, at the Hudson River Museum in New York. This body of work was curated in response to “African American Art in the 20th Century”, the Smithsonian American Art Museum’s traveling exhibition of selected works from the permanent collection, which opened at the Hudson River Museum in 2021. Robinson was also the Hudson River Museum’s 2022 Gala Honoree and had June 17th declared as “Jamel Robinson Day” by the Office of the Mayor of the City of Yonkers and the Westchester County Board of Legislators for his work with the museum and the city’s youth. Jamel most recently completed the 2022-23 inaugural tenure at the Long Meadow Art Residency in the Berkshires of Massachusetts where he spent four months creating an extensive body of work including assemblage, abstract paintings and sculpture.

Vinicius Silva de Almeida, born in 1983, lives and works in Salvador. A graduate in Visual Arts from the School of Fine Arts at the Federal University of Bahia, he is a restless artist. His interest in the exact sciences led him to develop his own language, which combines scientific thought, low-tech manual practices, and powerful visual poetic propositions that, in addition to establishing dialogues with the viewer, translate the artist's memory and experiences.

In 2005, he participated in his first exhibition with the installation "Tears of Saint Peter – A Comfort to the Northeastern Sertão" and received a Special Mention at the Bahia Regional Visual Arts Salon in Feira de Santana. In 2006, he participated in group exhibitions at the Bahia Regional Visual Arts Salon and the VIII Recôncavo Biennial, with the installations "One and a Half Minutes" and "The Pulse of the Biennial," respectively, winning awards on both occasions.

In December 2008, he was once again awarded a residency in The Hague, Netherlands, for participating in the installation “Optical Object #02” at the prestigious 15th Bahia Salon.

Also in 2008 and 2009, he had solo exhibitions at the Caixa Cultural in Salvador and Brasília, and in 2010, in the cities of Curitiba and São Paulo. Also in 2010, he was invited to participate in the book “30 Brazilian Contemporaries” by critic Enock Sacramento, and also participated in the publication “50 Years of Art in Bahia” by critic Matilde Matos. In 2011, he exhibited “Material Traces” at the Acbeu Gallery in Salvador. Then, in 2014, he presented “Fluids” at the Itaipu Ecomuseum in Foz do Iguaçu. In 2018, he premiered “Neopanopticon” at the Caixa Cultural in São Paulo.

Hasani Sahlehe (b. 1991, St. Thomas, Virgin Islands) lives and works in Atlanta, Georgia. His work has been exhibited in solo exhibitions at Atlanta Contemporary, Atlanta, GA; SCAD Museum of Art, Savannah, GA; Adams and Ollman, Portland, OR; MARCH, New York, NY; Tif Sigfrids, Athens, GA; Tops Gallery, Memphis, TN; and Gallery 12.26, Dallas, TX, among others. His work was included in the 2021 Atlanta Biennial at Atlanta Contemporary. He is a recipient of a 2023 Macdowell Fellowship. Sahlehe's work is in the permanent collections of The High Museum of Art and the Georgia Museum of Art. He received his BFA from Savannah College of Art and Design in 2015.

Maximilian Schubert received his BFA from The School of the Art Institute of Chicago in 2007. Schubert’s work often straddles the boundaries between painting and sculpture. Employing the old master technique of glazing where thin layers of paint impart color, depth and luminosity to a surface, Schubert creates works composed entirely of layer upon layer of poured, translucent polyurethane. Schubert has exhibited in the US and abroad, including two solo exhibitions at Off Paradise, New York, “Doubles” in 2020 and “Nocturnes” in 2023; And Now, Dallas; Lisson Gallery, London; the Power Station, Dallas, Texas; Bjorn/Gundorf, Aarhus, Denmark; Van Doren Waxter, New York; Kinman, London; Eli Ping/Frances Perkins, New York; Stephane Simoens, Knokke, Belgium; Bureau, New York; The Warehouse, Dallas; Chart, New York, and CCA, Andratx, Mallorca. Schubert lives and works in Brooklyn, New York.

Anna Jung Seo studies dislocation, exploring distance in different spheres: psychological and emotional distance within people and geographical and physical distance between places and people. More recently, her work looks at the emotions and vulnerability of daily life.

She received her BA, MA, and PhD in French Literature from Yonsei University, and her honorary BA in Fine Art from City & Guilds of London Art School. Jung Seo has had recent solo exhibitions at Project Native Informant, London, UK (2025);Rachel Uffner Gallery, New York, NY (2024); Keep in Touch Seoul, Seoul, South Korea (2022); Gongjaksaebang, Seoul, South Korea (2022, 2019); and The Stone Space, London, UK (2017). Jung Seo has participated in group exhibitions at venues such as Latitude Gallery, New York, NY (2025); Project Native Informant, London, UK (2023); Rachel Uffner Gallery, New York, NY (2022); V.O Curations, London, UK (2022); Union Gallery, London, UK (2022); The Curators Room, Amsterdam, Netherlands (2021);  C4RD, London, UK (2021); A.P.T Gallery, London, UK (2020); Royal Academy, London, UK (2020); and James Fuentes, Online (2020). Jung Seo received the Brian Till Art History Prize For Humanities Thesis in 2011. She has been an artist-in-residence at PADA Studios & Residency in Lisbon, Portugal, and the Florence Trust Residency, London, UK. Jung Seo currently lives and works in London, UK. 

Do Ho Suh is a South Korean artist who works primarily in sculpture, installation, and drawing. Suh is well known for re-creating architectural structures and objects using fabric in what the artist describes as an "act of memorialization." After earning a Bachelor of Fine Arts and Master of Fine Arts from Seoul National University in Korean painting, Suh began experimenting with sculpture and installation while studying at the Rhode Island School of Design (RISD). He graduated with a Bachelor of Fine Arts in painting from RISD in 1994, and went on to Yale where he graduated with a Master of Fine Arts in sculpture in 1997. He practiced for over a decade in New York before moving to London in 2010. Suh regularly shows his work around the world, including Venice where he represented Korea at the 49th Venice Biennale in 2001. In 2017, Suh was the recipient of the Ho-Am Prize in the Arts. Suh currently lives and works in London.

Suh's work focuses on the different ways architecture mediates the experience of space. Architecture has been a key reference for the artist since the mid-1990s—even for pieces like Floor (1997–2000) that do not resemble buildings. As a result, Suh pays particular attention to the site-specificity of the work, and sensorial experience of the viewer engaging with his pieces while moving in the exhibition space.

Ben Tong (b. 1981, Toronto, Canada) received his M.F.A. from California Institute of the Arts, Valencia, CA in 2012. The artist has presented solo and two-person exhibitions at galleries and museums including Bradley Ertaskiran, Montréal, Canada; UC Santa Barbara’s College of Creative Studies, Santa Barbara, CA; Jack Barrett, New York, NY; Commonwealth and Council, Los Angeles, CA, and Night Gallery, Los Angeles, CA. His work has been included in group shows at MOCA Geffen, Los Angeles, CA; Hammer Museum, Los Angeles, CA; Night Gallery, Los Angeles, CA; Bode Projects, Berlin, Germany; K11, Hong Kong; Capsule Shanghai, Shanghai, China; and Torrance Art Museum, Torrance, CA, among other venues. His work belongs in the collections of TD Bank and The National Bank. The artist lives and works in Los Angeles.

Rubem Valentim’s career as a painter began in the late 1940s. In his work, the formal development of constructivist ideas is recreated using Brazilian points of reference, both in formal and historical-political terms.  

Valentim’s works are structurally organized and composed of abstract signs made from horizontal and vertical lines, circles, cubes, and arrows. These elements are geometric reductions of Orixá, or deities, from the Afro-Brazilian religions Candomblé and Umbanda. These religions were originally brought to the Americas by enslaved Yoruba peoples from West and Central Africa. Once in Brazil, Candomblé and Umbanda developed further in the presence of indigenous groups and under the influence of the Roman Catholic Church, which was installed in Brazil by Portuguese colonizers.  

Valentim lived in Rio de Janeiro from 1957 to 1963, where he became assistant professor to Carlos Cavalcanti, teaching Art History at Instituto de Belas Artes. In 1963, he moved to Rome after being awarded a travel prize from Salão Nacional de Arte Moderna (SNAM). In 1966, Valentim took part in the World Festival of Black Arts in Dakar. Upon his return to Brazil, he moved to Brasília, where he gave painting lessons at Instituto de Artes da Universidade de Brasília (UnB). In 1972, the artist produced a marble mural for the government headquarters in Brasília. In 1979, Valentim created a large-scale concrete sculpture installed at Praça da Sé in São Paulo and defined it as the “Syncretic Structure of Afro-Brazilian Culture.” In the same year, he was selected by a group of critics to produce five medallions in gold, silver, and bronze as Afro-Brazilian symbols for an important public building. In 1998, Museu de Arte Moderna da Bahia (MAM/BA) opened the Rubem Valentim Special Room at its Sculpture Park. In 2018, Museu de Arte de São Paulo (MASP) presented a major retrospective of his work.  

His works are present in several permanent collections, including MoMA, New York; Museu de Arte Moderna de São Paulo (MAM), São Paulo; Pinacoteca do Estado de São Paulo, São Paulo; Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Museu de Arte Moderna da Bahia, Salvador; Museu de Arte de Brasília, Brasília; Museu de Arte de São Paulo Assis Chateaubriand (MASP), São Paulo; Museu Afro Brasil, São Paulo; Colección Patrícia Phelps de Cisneros, New York and Caracas; Coleção Adolpho Leirner, São Paulo; Gem Houston, Houston, among others.  

Jess Vieira is a young visual artist and researcher who, through her art, connects with her ancestry and territorial origins. With works of strong social value that portray much about Black women, her work raises fundamental questions about living in a primarily racist world that always leaves them marginalized, and about the struggle to find their identity. "Therefore, art has a strong importance in the construction of the subjectivity of someone who is affected by this structural racism daily." Thus, according to the artist, "the recovery of self-esteem and the sense of value of history inspires thinkers and activists, shaping their narratives and creations, generating a movement that overcomes the exhaustion of the daily struggle for existence and not surrendering to the sadness of a world that excludes and renders them unviable.

Jess Vieira holds a degree in Literature with a specialization in Brazilian Studies from FESP-SP and studies and works as an Art Therapist through the Jungian Institute of Bahia (IJBA). Her research is divided into series that seek to amplify, channel, and bring together the body (flesh and fluids), spirit, archetypal and natural elements related to water (river, sea), and imaginary territories based on her experiences. To this end, she draws on influences such as Nise da Silveira, Sônia Gomes, and Georgia O'Keefe, developing her narratives around the axis RIVER – SEA – RED EARTH, examining the organic nature of human relationships and how they deepen and intertwine consciously and unconsciously in a line of crossings nourished by water and its territorial connections. Integrating several group exhibitions and one solo exhibition, as well as more than ten publications, including magazines, editorials and books, Jess Vieira presented in 2022 the solo exhibition In my dream, I can be whoever I want, Galeria Periscópio, Belo Horizonte, MG, Brazil; and the group exhibitions 2020 Living Brotherhood – Historical Restoration:
Black Ancestry through Art, Google and Afro Brasil Museum, São Paulo, SP, Brazil; Desires for now and for the future, Pátio Metrô São Bento, São Paulo, SP, Brazil; 2018 Lambes Occupation, Matilha Cultural, São Paulo, SP, Brazil.

Ana Won lives and works in Buenos Aires. Her practice conceives artworks as temporal beings—time machines that absorb, process, and transform historical, cultural, and material influences into new forms. Working across painting and sculptural constructions, Won’s work moves fluidly between past, present, and speculative futures, engaging processes of accumulation, translation, and metamorphosis.

Won studied at the National University of Tucumán and completed artistic and technical training in photography, alongside extensive research-based programs and clinics, including Yungas Contemporary Art, the Artists’ Programme at Universidad Torcuato Di Tella (UTDT), and residencies at Fondo Nacional de las Artes, URRA, Zona Residency, Curator Residency, and Russia Gallery. She is the founder of Dicha, the first independent workshop space for artists in Tucumán. In 2022, she was awarded the First Prize from the Central Bank of the Argentine Republic.

Her work has been exhibited at major institutions including the Latin American Art Museum of Buenos Aires (MALBA), Museo de Arte Moderno de Buenos Aires (MAMBA), Centro Cultural Kirchner (CCK), Fundación Klemm, Museo Timoteo Navarro (Tucumán), Museo de Arte Contemporáneo Latinoamericano de La Plata (MACLA), Espacio Cripta, Fact Foundation, and Russia Gallery, among others.

Shuai Yang (b.1998 Beijing, China) is an artist based in New York. She recently received her MFA in Visual Arts from Columbia University School of The Arts and a BFA in printmaking from Massachusetts College of Art. She has exhibited her work in a three-person exhibition at Eli Klein Gallery (New York) and has shown at Hudson River Museum (New York); Lenfest Center For The Arts (New York); Society of Arts and Crafts (Boston); Chambers Fine Arts (New York); Storage Gallery (New York); LATITUDE Gallery (New York); theBlanc (New York); DeCA Foundation (New York); Fredric Snitzer Gallery (Miami); Abigail Ogilvy (Los Angeles); Accent Sisters (Jersey City); among others. Her work is collected by the Hudson River Museum (New York) and the Artemizia Foundation (Bisbee, Arizona). Yang has received reviews and interviews from Impulse Magazine, White Hot Magazine, VENTI Journal and has given talks at Pratt Institute and Massachusetts College of Art. She is a recipient of the Glogauair Artist-in-Resident (Berlin, forthcoming), Vermont Studio Center Residency, Nars Foundation International Artist Residency, Rockella Artist Program fellowship, Morty Frank Travel Award, and Donald C. Kelley Travel Award.

Ang Ziqi Zhang’s small to midsize panels in soft hues and bold neons take shape within a push-pull relation that creates spaces between abstraction and subtle figuration, desire and control, rational and affect. Investigating semiotics of Eastern culture and Western Capitalist consumer society through a subjective lens of her own understanding and interests, the base structure of her paintings often develops by incorporating signs, symbols, diagrams and language.

Other paintings originate in abstract thought, technology or visual references of everyday experiences that lay the foundation for her paintings. Dark and densely-layered, or light and blissful, like strobe lights moving through a nightclub, the paintings draw parallels to Ziqi Zhang’s engagement in club culture and her affinity for techno and electronic music.

Zhang lives and works in New York. She received her MFA in painting and printmaking from Yale School of Art in 2023. She has had solo and two-person exhibitions at Romance Gallery, Pittsburgh, PA (2025); Neuer Essener Kunstverein, Essen, Germany (2024); Silke Lindner, New York, NY (2024); Iowa Projects, Brooklyn, NY (2023); LVL3, Chicago, IL (2023); and Produce Model Gallery, Chicago, IL (2021). Her work has been included in group exhibitions at Silke Lindner, New York, NY (2025); Chapter NY, New York, NY (2023); Derosia, New York, NY (2023); Jan Kaps Gallery, Cologne (2023); Apparatus Projects, Chicago, IL (2023); Lo Brutto Stahl, Paris (2023); Good Weather Gallery, Chicago, IL (2022); Night Club Gallery, Minneapolis, WI (2022); Logan Center Exhibitions, Chicago, IL (2022); Each Modern, Taipei (2022); and Fonda, Leipzig, Germany (2020), among others.

Ye Zhu was born in Taishan, China (1986), to farmers who met in the factories of Shenzhen city. His family immigrated to NYC in 1990. He grew up in a house with a lush village-style backyard garden in the cosmopolitan streets of Sunset Park, Brooklyn. These histories propel him; their currents—manufacture and gardening, belonging and displacement, spirit and material—create a forest of split roads that fold over, burrowing and resurfacing. Through artmaking, Zhu engages in a visceral dialogue with their movements.

Zhu adapts painting’s contemporary tendency to capture abstract and representational themes of identity, spirituality, and emotion, while fusing relief elements belonging to the domain of sculpture—which is more based in material reality. Zhu’s layered use of found and crafted objects forms dense aggregates of intersecting stories. His use of material is painterly, attuning to their properties of color, texture, and expression; they are also literal, with the objects themselves addressing the realities of globalization and consumption, legacies of colonization, and the intimacy of sentimental objects.