Untitled Art 2022

November 28 – December 3, 2022

 Untitled Art 2022

Yossi Milo Gallery is pleased to participate in the 2022 edition of Untitled Art at Miami Beach from November 29 – December 3, 2022. The artists featured in our booth revisit traditions of figuration with a new, revitalized emphasis on color, form, and story. Our booth includes work by Linus Borgo, Angela Dufresne, John Gill, Asif Hoque, Jeremy Jaspers, Natia Lemay, Kathrin Linkersdorff, Navot Miller, Anoushka Mirchandani, Shikeith, Cameron Welch, and for his first presentation with the gallery, Richard-Jonathan Nelson.

In anticipation of his debut solo exhibition in New York, and first with the gallery, Richard-Jonathan Nelson (American, b. 1987) will present his mixed-media tapestries that expand understandings of Blackness through Afrofuturist vision, boundless fantasy, and a reconstruction of the imagined spaces that hold Black bodies. The artist weaves, prints, dyes, and sews his textiles to create landscapes that are at once familiar and foreign: portals into sacred spaces that manifest a Black existence beyond the Western colonial imagination. Nelson’s experience with textile work dates back to his childhood in Savannah, Georgia, when his mother and grandmother taught him to sew. Stitching together different materials, the artist discovered how sewing could allow him to build his own worlds. Coming to terms with his identity as a gay Black person in the South, this sort of world-building would become crucial to him, not only as an artistic process, but also as a method of survival. Nelson composes surreal sceneries that center Black bodies in rich floral landscapes, punctuated by brief excerpts of text and images of extraterrestrial exploration.

An excavation of mythological lore and distant pasts can be found in the work of Linus Borgo, Asif Hoque, and Cameron Welch, all of whom trace a common thread from antiquity to our modern day in their work. Drawing from the imagery of the Italian Renaissance and classical mythology, Linus Borgo’s (American, b. 1995), work dips into the cosmic vastness that is the passing of time, investigating how cultural stories, systems of knowledge, and relics of organic life change or persist through history. Likewise interested in mythological tales, Asif Hoque (Italian, b. 1991) blends Roman and Bengal traditions to construct new myths, filling them with majestic Brown bodies, mystical beasts, and rich swaths of gold and green. With stone, tile, glass, precious metals, and found objects, Cameron Welch (American, b. 1990) assembles monumental mosaics that illuminate overlooked and forgotten histories. Collectively, these artists rebuild and expand our limited understandings of time, identity, and authorized systems of knowledge.

Each with their own visual language, Natia Lemay, Anoushka Mirchandani, and Shikeith interrogate their own pasts and delve deep into interior psychological spaces. Natia Lemay (Canadian, b. 1985) explores the experience of being at once hyper-visible and invisible with layered strokes of textured black paint. In her recent work, pops of color manifest in the form of floral bouquets that hide subtle hints of childhood memories and past traumas among their leaves. Anoushka Mirchandani (Indian, b. 1988) employs a visual form of code-switching in her painting practice, alternating between opaque passages of color and expressively outlined limbs and faces. This interchange of forms allows the artist to express the variegated facets of her identity as an Indian-American woman navigating shifting cultural expectations of femininity. Shikeith’s (American, b. 1989) multidisciplinary practice explores notions of masculinity, queer desire, and nonlinear temporality. Combining processes of screen-printing and oil painting, the artist composes images that toe the line between sacred and secular representations of encounters with ecstasy.

Embracing animated palettes and bold formal approaches to painting, Angela Dufresne, Jeremy Jaspers, and Navot Miller offer vivid expressions of modern queer existence. Angela Dufresne (American, b. 1969) revisits old Hollywood in her paintings, reframing icons of the period in a queer context. Laying particular emphasis on the likeness of actress Gena Rowlands, Dufresne identifies and reconstructs notions of femininity, collective cultural values, and gendered performance. Jeremy Jaspers’ (German, b. 1977) intimate portraits of anonymous subjects offer covert glimpses into the private longings of contemporary queer men. The artist’s painterly, figurative tableaux celebrate the differences that might normally subject one to social ostracism, granting them visibility and dignity. Enamored with life’s fleeting moments of passion, heartache, and banality, Navot Miller (Israeli, b. 1991) positions his practice as a record of it all.
The artist’s experiences as a gay, Jewish immigrant living in Germany figure prominently in his painting, which centers depictions of queer love in vibrantly colored, architecturally grandiose spaces.

The work of photographer Kathrin Linkersdorff (German; b. 1966) introduces color through the minutiae of the natural world. The artist begins by collecting tulips and carefully drying them over a period of several weeks. Linkersdorff then submerges the dried, translucent flowers into a liquid medium where their petals unfurl. Often, the artist introduces her naturally derived floral dyes into that very same medium, where it diffuses in swirling, colorful tendrils. Approaching a similarly rigorous craft with a spirit of innovation, John Gill (American, b. 1949) hand-builds dynamic vessels from slabs of clay, which he arranges into scaffolded levels of angular geometric planes. With intuitive expertise, Gill centers his practice around chance, approaching his craft with a spirit of spontaneity, innovation, and play.