Dallas Art Fair 2025

Levi van Veluw was born in the Dutch town of Hoevelaken in 1985 and studied at the ArtEZ Institute of the Arts in Arnhem. He lives and works in Amsterdam. Since graduating in 2007, he has produced multi- disciplinary works that spans scenographic installations, photographs, videos, sculptures and drawings. Van Veluw bases his practice around the idea of an alternate reality, creating a visual laboratory where both order and chaos are present. The artist has extensively investigated the relativity of matter and draws on scientific theories and physics to approach various existential dilemmas. His dark and sensory installations encourage the viewer to reflect on the development of a new knowledge, stemming from the desire for a regulated universe, while acknowledging the rational impossibility of total control.

Among his personal recent exhibitions we remind: Videocittà Rome, Italy (2021); Eduardo Secci, Florence, Italy (2020); Rijksmuseum Twenthe, Enschede,The Netherlands (2020); Praz-Delavallade, Paris (2020); Het HEM, Zaandam, The Netherlands (2020); Tenuta Dello Scompiglio, Lucca, Italy (2019); Domaine de Kerguéhennec, Bignan, France (2018); La Galerie Particulière, Paris (2017); Galerie Ron Mandos, Amsterdam (2019); Rosenfeld Porcini Gallery, London (2016). Among group shows we remind: Museo Kranenburgh, Bergen, The Netherlands (2017); labellisée Normandie Impressonniste, Jumièges, France (2016); Museum de Fundatie, Zwolle, the Netherlands (2016); Maddox Arts, London (2015). Van Veluw’s works have also been widely shown at international art fairs such as Zona Maco (2018); The Armory Show, New York (2017); Art Brussels (2016); Chicago Art Fair (2016); Volta Basel (2012) and the Barcelona Loop Fair Barcelona (2014). The work of Levi Veluw has been exhibited internationally in leading museums and institutions, and is included in both public and private collections, including the Borusan Contemporary Collection, Caldic Collection, Ekard Collection and KPMG Art Collection.

Abul Hisham (Born 1987 in Thrissur, Kerala), translates impulses culled from the Safavid, Mughal, Rajput and Deccani repertoires into an expressionist vocabulary, developing a sequence of portraits and tableaux that are uncanny, riddling, and phantasmagorical.

His scenes speak frequently of his native India, but often the inhabitants are from elsewhere. The exploration of shared histories, and of hierarchy and power, have been tarting points for his work. Concerns that show up in Abul’s work are religious conflicts and caste systems, which he considers the two most compelling issues today.

Abul’s interest in the existential finds expression in the medium of dry pastel, which he has been using over the last decade. The experience of working with the powdered pigment is like sculpting from dust, and recalls the Christian and Islamic belief that humans were created from dust to which they return after death. Some of the pastel pigments that Hisham uses are made from mined minerals, themselves part of the cycle of creation and transformation over millennia.

“My body of work explores the notions of desire, death and memory. These three points each have their own multi-layered profundity, and I’m interested in how they are intertwined with the social and cultural spaces in which I live – although I’m also concerned about the role of an artist as an observer in these spaces. The motivation for me is always evolving, from curiosities about socio-political cultural spaces to personal narratives, with cinema, pop culture, art history, mythology, and religion as reference points. And I enjoy the process of letting viewers decipher the many metaphors and symbols for themselves.

My interest in the existential finds expression in the medium of soft pastel, which I have been using over the last decade. The experience of working with powdered pigments is like sculpting from dust, keeping with the Christian and Islamic belief that humans were created from dust, and to which they return after death. Some of the pigments I use are made from mined minerals, themselves part of the terrestrial cycle of creation and transformation over millennia. Along with my investigations in two-dimensional space, I’m also currently exploring sculptural installations that address memories of inner space, and their potential connections to the idea of the Self.” – Abul Hisham

Daria Dmytrenko (1993, Dnipropetrovsk, Ucraina) vive e lavora a Venezia. Dopo la prima formazione artistica a Dnipropetrovsk, ha frequentato i corsi di pittura presso l’Accademia Nazionale di Arti Visive e Architettura di Kiev (2012-15) e si è diplomata all’Accademia di Belle Arti di Venezia nel 2021. Attraverso la pittura, l’artista esplora l’espressione visiva del subconscio, utilizzando gli impulsi intuitivi come strumento per far emergere i ricordi più profondi e trasformarli in composizione. Tra le mostre in cui sono state esposte le sue opere: Journey to the center of the mind, Stems (Paris, 2024) What’s behind the gloom, Setareh (Düsseldorf, 2023), Degree Show II, Palazzo Monti (Brescia, 2021); Extraordinario, Vulcano agenzia VEGA (Venezia, 2020); 103ma Collettiva Giovani Artisti, Fondazione Bevilacqua La Masa, Galleria Piazza San Marco (Venezia, 2020); Spin Off, Calle Lunga Santa Caterina (Venezia, 2019); Speculum mundi, Davide Gallo (Milano, 2018); Upon a Time, Galleria Eduardo Secci (Firenze, 2022); Fluuuuuido, Cassina Projects (Milano, 2022).

Etsu Egami (1994, Tokyo, Japan), is a representative of the third generation of post-war Japanese contemporary artists, actively involved in Japan, China, United States, and Europe. She studied at The Karlsruhe University of Arts and Design (HFG) in Germany and at the Central Academy of Fine Arts in Beijing.

She got The best artist prize in 2023, Forbes Asia 30 UNDER 30 in 2021, and now in New York dispatched as a talented artist by Agency for Cultural Affairs, Japan Government. Etsu Egami currently lives and works between Tokyo and New York. Selected solo exhibitions include “Etsu Egami solo show”, Whitestone gallery Singapore (Singapore, 2023); “Etsu Egami: Obsession and Qusetion, New Horizons of Modern Painting”, Hiroshima Woodone Museum (Japan, 2022); “Rainbow”, Tang Contemporary Art, Seoul (Korea, 2022);  A2Z PARIS (Paris, 2022); “Etsu Egami: Rainbow”, Karuizawa New Museum(Japan, 2022); “Etsu Egami: In a Moment of Misunderstanding, All the Masks Fall”, Tang Contemporary Art, Beijing (China, 2021); “RAINBOW- ETSU EGAMI”, Whitestone gallery Taipei, Taipei (China, 2021); “Face book- EGAMI ETSU”, Chambers Fine Art, New York (USA, 2021), etc

Alin Bozbiciu is a young, talented artist representing the figurative painting of the School of Cluj in Rumania. He excels in the medium of painting in all its facets. A soft wide brush stroke and abundant use of paint are characteristic for his style. The palette roams on the spectrum of earth colors and grisaille hues with very rare color outbursts.

The artist is passionate about subjects of his own private surrounding and the representation of familiar or even related individuals. Animals, especially dogs, star in many of his paintings. The subjects are set in private, intimate poses usually alone and seemingly unobserved. Often their gaze is turned to the floor, their bodies crouched or bent which conveys a feeling of the portrayed people being abandoned or immersed in private thoughts. The dogs reinforce the intimacy of the moment and create an emotional link between the person in the picture and the viewer. After further contemplation, one sometimes spots details in the pictures that do imply the presence of others.

Bozbiciu is dedicated to his subjects in constant repetition, serial work is a main method of his oeuvre. It allows him to study his subjects in different formats and variations, eliminating the clichés of content and representation. This method forces the viewer to look closer in order to distinguish the motives. This way Bozbiciu questions and challenges our perception of images. Despite his painting being figurative it is also extremely aloof only hinting at things instead of being explicit. Much is left ambiguous and open for interpretation or associations of the viewer. His big brush strokes are a tool to convey emotions and sensuality not enunciate content. Hence his work demands to be looked at again and again in order to be seen. They reveal their chore qualities when met with devotion.

Kevin Francis Gray was born in Northern Ireland in 1972. He currently lives and works between London and Pietrasanta.

Kevin Francis Gray has generated bodies of work which address the complex relationship between abstraction and figuration. At the core of the artist’s practice is an interrogation of the intersection of traditional sculptural techniques and contemporary life. Rather than working towards ideals of beauty or memorial, Gray attends to the psychological effects, often relying on textural surfaces rather than facial or bodily expressions. Furthering Gray’s decade of working with marble, his new work pushes the possibilities of the artist’s sculptural practice into new territories of physical and psychological expression.

He received his BA from the National College of Art & Design in Dublin (1995) and the School of Art Institute in Chicago (1996), and then went on to earn an MA in Fine Art from the Goldsmiths College in London. He works closely with the Giannoni marble studio in Pietrasanta, renowned for its use of sculpting techniques that date back to Canova and Michelangelo. His works have been included in exhibitions at the Royal Academy, London, UK; Sudeley Castle, Winchcombe, Gloucestershire, UK; Museum of Contemporary Art of the Val de-Marne, Paris, France; Nieuw Dakota, Amsterdam; Palazzo Arti Napoli, Naples, Italy; Musee d’art Moderne, Saint-Etienne, France; ARTIUM, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain; Tel Aviv Museum of Art, Tel Aviv, Israel; and Art Space, New York, USA.