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We are very pleased to present our recent group show Figures in Four which will feature artworks by Nadine Lohof, Yuhao Chen, Hannes Heinrich, and Sebastian Hosu. 

The human figure is currently receiving renewed attention—as an anchor, a point of encounter, and a point of reference within the image and our wider visual culture. Figures in Four takes this renewed desire for figuration as its starting point, while leading it in a different direction.

Nadine Lohof, Yuhao Chen, Hannes Heinrich and Sebastian Hosu approach the figure less as a subject to be represented or to serve representation than as a starting point for painterly explorations of form, expression, inquiry and an open-ended conception of the image.

This summer we presented Echo, a solo exhibition by Klara Meinhardt.

In Echo, Meinhardt explored architecture as human created environments by the example of East German Modernism, examining how prefabricated housing estates and concrete fences shape the spaces of everyday life and the collective memory associated with them. Working with cyanotype, textiles, and sculptural elements, in her practrice Meinhardt layers architectural structures with domestic objects and materials, creating a dialogue between standardized public spaces and the intimacy of private life. Her works bring together image and sculpture, transforming familiar built environments into tactile compositions in which personal experience and collective history leave their traces.

In this first solo exhibition with the gallery titled FUNSAVER , Berlin-based painter Allistair Walter showed new and recent artworks for which he transformed snapshots and polaroids into layered, autonomous paintings where memory, perception, and materiality converge. Starting from a figurative base, his images gradually dissolve into open, indeterminate spaces, oscillating between figuration and abstraction, while a calm melancholy and subtle visual whispering imbue the works with quiet emotional resonance. Metamorphosis underpins the exhibition, capturing the continuous becoming of image, subjectivity, and perception, while Walter’s work, driven by an awareness of impermanence, stakes a quiet claim against oblivion—rendering fleeting moments and shared experiences both intimate and enduring.

In her debut solo show with the gallery, the Berlin based artist Inna Levinson presents us a new series of paintings with which she responds to our increasing engagement and entanglement with digital visual media and its effects on our understanding of (social) reality and on our minds. She creates compositions that are both intriguing observations and bring a surreal character to sight. The smoothness of the smartphone and computer display is disrupted by the texture of the burlap, or coarsed-meshed jute, the specific surface material she paints on. Thickly applied oil paint on this coarse surface material becomes reminiscent of singular pixels, a tactile texture for the eye that denies false immaculacy and smoothness of the artificial digital realm. Painting as a physical act and its possibilites to re-act upon the motifs serve as intricate interferences and commentary on a world that is saturated and overwhelmed by digital imagery and its potential to dissolves within its realm.