B. 1972 Denver, CO Lives and works in Santa Barbara, CA Jansson Stegner is a figurative painter best known for his mannerist portraiture. Although often his staging and handling of paint is reminiscent of traditional European portraiture and 19th-century genre painting, his work offers a distinctively a modern, albeit idealized, depiction of contemporary life. The figure is Stegner's currency - and with an understanding of the established history of Western painting's fixation on the female form – he ascribes exaggerated physiques and poses to the figure, exploring the inversion of gender roles within aspects of authority, dominance, submission and beauty. Stegner’s practice is equally as much a critique of norms of sexuality and attractiveness, as it is a revelation on the psychological structure and process by which beauty is ordered, sustained and perpetuated. Stegner's women have elongated necks, endless thighs and cinched waists against a background littered with object symbolism - Stegner's men also receive the same treatment within their composite tableaux, with elongated forms instead of counterpoint of hyper-masculinity. Stegner’s women can be sardonically read as coquette-ish fantasy, but in truth, his women, like his men, are saturated with palpable power, style and intelligence: their eyes match the viewers gaze, their pliable, long limbs heroic and muscular, and their sexuality is unequivocally their own. Stegner plays with our perception of the human form and narrative tableaux by emulating or subverting art historical canons and subjects under a weighty, contemporary gaze. Jansson Stegner (b. 1972, Denver, CO, US; lives and works in Santa Barbara, CA, US) received his MFA from the University of Albany, New York. Stegner has been the subject of numerous solo exhibitions with Sorry We’re Closed, Brussels; Bellwether Gallery, New York; Mike Weiss Gallery, New York, and most recently, Almine Rech Gallery, New York. Stegner was the recipient of the 2010 Art Brussels: Collectors’ Choice Award and was the 2015 Deutsche Bank NYFA Fellow. Stegner is represented by Nino Mier Gallery, Los Angeles and Sorry We’re Closed, Brussels.

b. 1973, Homburg/Saar, DE Lives and works in Berlin, DE Stefan Rinck is a German visual artist working primarily in stone sculpture. The artist’s distinctively patterned and painstakingly chiseled motley crew of stone characters hail from a fantastic dreamworld: hominid bears, well- dressed dogs, smiling alligators, twisted gargoyles and other cartoonish creatures culled from contemporary culture and historical canons. He builds Boschian rock gardens of earthly delights – visions of pure whimsy, grim darkness and satirical wit that blend references as diverse as pop culture and Early Modern poetry. Stefan Rinck (b. 1973, Homburg/Saar, DE; lives and works in Berlin, DE) studied Art History and Philosophy at the Universität des Saarlandes in Saarbrücken and Sculpture at the Academy of Arts in Karlsruhe. Rinck has had many gallery and museum exhibitions, including Skarstedt Gallery (New York, NY), de Hallen (Haarlem, The Netherlands), Sorry We‘re Closed (Brussels, Belgium), Vilma Gold (London), Semiose (Paris, France), Patricia Low Contemporary (Gstaad, St. Moritz, Switzerland), Gallery Rüdiger Schöttle (Munich, Germany), The Breeder (Athens, Greece), Galeria Alegria (Madrid, Spain) and Cruise&Callas (Berlin, Germany). He participated at the Busan Biennale in South Korea and at the Vent des Fôret in France where he installed permanent public sculptures. His works are in public collections including CBK Rotterdam (The Netherlands), Musée de la Loterie Belge (Belgium), Sammlung Krohne (Germany) and FRAC Corse (France), among others.

b. 1971, Sevilla, ES Lives and works in San Juan, PR José Lerma is a multimedia artist who works primarily in portraiture. Lerma’s practice is most responsive to not only the social and material conditions of the cities he inhabits, but also to the works of art put on display by their institutions. He has described his practice as akin to that of a landscape painter, turning his eye into a sieve able to distill and record telling details about worlds physically proximate to him. Of particular interest to Lerma is art history, and how artistic representation produces social and political power. His recent suite of portraits is known for its rejection of character psychology and its distinctively haptic materiality, produced with a custom-mixed acrylic paint that allows for a signature impasto. José Lerma (b. 1971, Sevilla, ES; lives and works in San Juan, PR) received his MFA from University of Wisconsin, Madison in 2002. He has had over twenty solo exhibitions at galleries such as Kavi Gupta in Chicago, IL (2020, 2017, 2014), Galerie Xavier Hufkens in Brussels, Andrea Rosen Gallery in New York, NY (2014, 2010, 2006, 2004), and at museums such as the Museum of Contemporary Art Detroit (2014), and the Museum of Contemporary Art in Chicago (2013). His works are represented in numerous collections, including The Saatchi Collection in London, the Museum of Fine Arts, Houston, and the Whitney Museum of American Art. Lerma served as an Associate Professor at the School of the Art Institute of Chicago until from 2009 through 2023.

b. 1946, Galveston, TX, US d. 2025, Dallas, TX, US Otis Jones is known for his meditative, post-minimalist, geometric paintings composed on custom-built, stacked plywood forms. These forms might technically be referred to as Jones’ frames, but functionally they are more than mere adornment, as they comprise the base and the sides to his paintings. The stratigraphy of Jones’ works requires viewers to regard his constructions from all sides; some even reveal their interior, accessed through gaps in the plywood stack. Jones stretches and staples linen to the flat planes of the plywood structures, which he then paints with fields of richly-textured, monochromatic color. Within his color fields, he positions smaller geometric forms that mimic the shape of the work at large. These biomorphic, microcosmic shapes made with acrylic paint are opaque and sometimes impastoed. While his paintings are not technically “process paintings”, the visible elements of the construction process— glue, staples, lamination, excess paint—imparts an aura of hand-crafted uniqueness onto each work, fashioned with a sensitivity towards beauty that is derived from rather than at odds with a rugged pragmatism. Otis Jones (b. 1946, Galveston, TX, US; d. 2025, Dallas, TX, US), has held solo exhibitions at MARC STRAUS (New York; 2021, 2019, 2018), Barry Whistler (Dallas; 2020, 2016), Sorry We’re Closed (Brussels; 2019), Sunday-S (Copenhagen; 2019, 2017), Gray Contemporary (Houston; 2017), annex14 (Zürich; 2016), and William Campbell Contemporary Art (Fort Worth; 2012). He was the recipient of a Visual Artists Fellowship Grant from the National Endowment for the Arts (1982), and holds a BFA from Kansas State University, and an MFA from the University of Oklahoma. He has taught at Texas Christian University, the University of Texas at Austin, and has served as an Associate Professor and Visiting Professor at University of Texas at Arlington. Jones’ work is in many major private and public collections, including at the Dallas Museum of Art, the Hammer Museum (Los Angeles), the Museum of Fine Arts (Houston), the San Antonio Museum of Art, and the Nelson Atkins Museum of Art (Kansas City).

b.1982, Sydney, AU Lives and works in Paris, FR Gregory Hodge’s paintings navigate the intersection between abstraction and figuration, layering personal imagery with gestural marks and obscured motifs. His works blur the boundaries between two- and three-dimensional space, creating illusionary compositions that challenge perceptions of reality. Drawing inspiration from artists like Pablo Picasso and Georges Braque, Hodge employs trompe-l’oeil techniques, cast shadows, and intricate surface manipulations to evoke the fragility and temporality of his original mixed-media collages. His recent works mark a shift from pure abstraction to more representational imagery, incorporating landscapes, interiors, and architectural elements informed by personal memory. Hodge’s landscapes are composites of the places he has inhabited, merging impressions of Parisian forests with the coastal bush of New South Wales. Using a controlled yet expressive painterly language, he creates intricate surfaces that collapse spatial depth, often referencing the textures of textiles. Influenced by 17th- and 18th-century European tapestries, he layers dragged painted marks to emulate woven surfaces, embedding his imagery within a rich, tactile field. Through this interplay of texture, depth, and abstraction, Hodge’s work offers a visually immersive experience that invites viewers to question the distinctions between materiality and illusion. Gregory Hodge (b.1982, lives and works in Paris, FR) holds a BFA from the Australian National University Canberra School of Art, Canberra, AU and graduated there as a Doctor of Philosophy/Fine Arts. He has had solo exhibitions with Sullivan+Strumpf, Sydney and Melbourne, AU; Galerie Anne-Laure Buffard, Paris, FR; Le Pavé d’Orsay, Paris, FR and Bus Projects, Melbourne, AU. Recent group exhibitions were held at Manly Art Gallery & Museum, Sydney, AU; L’Ancien Theatre, Beaune, FR; Carriageworks Sydney, AU and Sullivan+Strumpf, Sydney, AU. His work is held in public collections like the Art Gallery of New South Wales, Sydney, AU; National Gallery of Australia, Canberra, AU and the Thrivent Art Collection, Minneapolis, MN, US. In May 2026 he will have his first solo exhibition with Nino Mier Gallery in its SoHo location in New York, NY, US.

b. 1975, Riverside, CA, US Lives and works in Philadelphia, PA, US American painter Lola Gil's work disturbs visual conventions of domesticity and consumption. Fantastic and uncanny, most of her paintings depict scenes in and around the home, with fragmented or warped images layered on the picture plane. Blown glass figurines feature prominently within Gil’s canvases, sometimes obscuring the entirety of a figure or landscape. Thematically, her practice experiments with and develops the visual language of suburban nostalgia, interpersonal connection, and alienation that finds roots in vernacular American imagery like Norman Rockwell’s illustrations. Lola Gil (b. 1975, Riverside, CA, US; lives and works in Philadelphia, PA, US) has recently held solo exhibitions at Aisho Nanzuka, HK; KP Projects, Los Angeles, CA; Roq La Rue Gallery, Seattle, WA; Merry Karnowsky Gallery, Los Angeles, CA; among others. Her group exhibitions include Wasau Museum of Contemporary Art, Wausau, WI; Lohme Gallery, Malmö, SE; Craig Krull Gallery, Santa Monica, CA; Dorothy Circus Gallery, London, UK; and Outré Gallery, Melbourne, AU, among many others.

b. 1972, Lusaka, ZM Lives and works in Norfolk, UK Jonathan Wateridge is best known for his paintings that depict spectral, isolated men and women who blend in and out of their poolside environments. The series initially explored economic and racial tensions in postcolonial Zambia, witnessed by a young Wateridge most poignantly in and around pools. Early paintings in this body of work featured adroit representations of figures emanating foreboding auras of decadence, atomization, and social discordance, based on large sets built by the artist, and populated with figure models. More recently, he has developed a formal language to more deeply explore figures that often seem isolated, interrupted, or unsure of themselves - figures, in other words, who occupy a world that is no longer guaranteed or available to them. The formal and expressive aspects of Wateridge's style have come to the fore in recent years, as he pushes the tension between realist elements and a sense of the cinematic with the visual grammars of modernism. Each painting is heavily worked, sometimes taking multiple years to complete, and such changes are becoming increasingly visible on the surface of the canvases. This more fluid and expressive process has now superseded his previous affinity for building sets and hiring models; the staged theater of his earlier work is now contained in the very making of the paintings themselves. Jonathan Wateridge (b. 1972, Lusaka, ZM; lives and works in Norfolk, UK) graduated from the Glasgow School of Art in 1990. He had recent solo exhibitions with GRIMM, London, UK; T.J. Boulting, London, UK; Galerie Haas, Zurich, CH and Pace / HENI, London, UK. His work was featured in recent group exhibitions with Fresnonian Gallery, London, UK; AkzoNobel Art Foundation, Amsterdam, NL; Green Family Art Foundation, Dallas, TX, US, The Rennie Museum, Vancouver, CA; and the Boghossian Foundation, Brussels, BE. Jonathan Wateridge’s work is in multiple public and private collections worldwide, including the Saatchi Collection, UK; Aïshti Foundation, LB; Benedict Taschen, DE; Rennie Collection, CA and the Pinault Collection; FR and IT.

b. 1975, Cologne, DE Lives and works in Berlin, DE Sculptor and colorist, Anna Fasshauer engages with aluminum and industrial paint in direct opposition to the male minimalists and maximalists of the late 20th century. Fasshauer uses only her body and a rivet gun to form her sculptures – no assistants, no bending machinery, no fabricators. By making the physicality of her working method limited and governed by her own strength, height and weight, Fasshauer’s works are ultimately a direct reflection to her own body. She takes the cold, stiff, industrial material and renders it fluid, malleable and human by sheer muscle. In doing so, Fasshauer retains her sense of celebratory whimsy and humor, often assigning anthropological attributes and titles to her vibrantly colored forms. Anna Fasshauer (b. 1975, Cologne, DE; lives and works in Berlin, DE) graduated with an MFA from Chelsea School of Art and Design, London in 2001. She has been included in numerous solo and group exhibitions at institutions worldwide, including Kunstverein Offenburg; Jardin des Tuileries, Paris; Orient-Institut Beirut, Lebanon; Kunstverein Arnsberg; London Barbican Center; Kunsthalle Baden and Goethe-Institut Beirut, Lebanon.

b.1989, London, UK Lives and works in London, UK Lucienne O’Mara’s paintings break down the rigid grid, blending freehand geometry with expressive brushwork to explore the tension between order and chaos. Her repeated square motifs challenge visual structure, creating a poetic rhythm that mirrors life’s unpredictability. Engaging with Modernist aesthetics, O’Mara reclaims abstraction in a contemporary context, disrupting its historically male-dominated narrative. Her work rejects fixed spatial relationships, instead presenting multiple perceptual planes where depth and form remain fluid and intuitive. O’Mara’s artistic vision is deeply shaped by personal experience. After a brain injury in 2017 affected her sight, she had to relearn how to "see," transforming uncertainty into creative possibility. This struggle resonates in her work, where structure and ambiguity coexist. Inspired by the fluid nature of perception, her paintings challenge conventional vision, inviting viewers into shifting spaces where objects, moments, and memories continuously reform. Lucienne O’Mara (br. 1989, lives and works in London, UK) studied at London Art School, London, UK. O’Mara has had solo exhibitions at Nino Mier Gallery, New York, NY, US; Gillian Jason Gallery, London, UK; Flowers Gallery, London, UK and OHSH Projects, London, UK. Recent group exhibitions were held at Flowers Gallery, London, UK; Xxijra Hii Gallery, London, UK; Haricot Gallery, London, UK and Somers Gallery, London, UK. She has been the recipient of the Painter Stainer’s Prize, the Tony Carter Award, and a finalist of the Ingram Prize. Her newest selection of works is currently on view at Nino Mier Gallery, Brussels, BE.