Rolando Anselmi is pleased to announce Personal Showcase III, the third chapter of the group exhibition that renews the gallery’s dialogue with both emerging and established artists, fostering new collaborations. The exhibition features works by Maria Balea (b. 1990, Sighetu Marmației, ROU), Anner Cohen (b. 1997, Tel Aviv, ISR), Nick Farhi (b. 1987, New York, US), Lexia Hachtmann (b. 1993, Berlin, DE), Miguel Marina (b. 1989, Madrid, ESP), Laura Omacini (b. 1991, Venice, IT), Omar Rodriguez Graham (b. 1978, Mexico City, MX), Alexander Skats (b. 1986, Gothenburg, SE), and Xawery Wolski (b. 1960, Warsaw, PL).
The selection of works highlights an interest in experimentation and diversity of painterly languages, showcasing artists exhibiting at the gallery for the first time and opening a dialogue on themes of time, memory, and spatial perception.
On the first floor, three works by Lexia Hachtmann welcome the visitor. Her layered approach, oscillating between figuration and abstraction, creates atmospheres suspended between reality and imagination. In Rabbit, In Sight, and Shadow Play, the artist reflects on the ambivalence of symbolism and the act of observation, both physically and psychologically, exploring the boundaries between the private and public spheres. Nearby, Laura Omacini presents Barricades and Der Fuge, using collage and painting to layer newspaper clippings and architecture, investigating physical and existential thresholds. Her works convey social tensions, a desire for escape, and fragility, maintaining a poetic thread despite formal diversity. Completing the first floor display, Xawery Wolski and Omar Rodriguez Graham. Wolski’s Tattoos on paper—often infinite chains or circles—symbolize the connection and continuity between time, memory, and cultures. Rodriguez Graham’s Gramatica and Laberinto explore painting’s language, balancing the recognizable and the abstract. He starts with familiar images, layering gestures that evoke memory and transformation, translating physical structures into vibrant paintings that exist between f iguration and abstraction.
Descending to the lower floor, Anner Cohen presents Vultures and Marionette, part of an entirely new body of work. The artist projects and overlays images sourced from personal photography, film stills, and online visuals -often tied to pop imagery- removing human presence and recombining them intuitively. These layered compositions blur and merge, acquiring a dreamlike quality that invites unpredictable and personal interpretations. Similarly, Nick Farhi employs layering as a central element, exploring consumer culture and capitalism through light effects and textures reminiscent of photography, capturing fleeting moments of a collective visual memory. His street paintings depict places that escape the eye, fragmented realities in constant flux. Further on, Miguel Marina investigates form, surface, and movement through a tactile painting process on wood. His layered approach, incorporating incisions and graphic marks, evokes landscapes and memories, transforming the relationship between material and image while balancing construction and dissolution. Nearby, Alexander Skats presents Isolde with Rocking Horse, translating cinematic aesthetics into paintings suspended between memory and imagination. Drawing inspiration from French film stills, online images, and Renaissance painting, he selects marginal frames, stripping them of their conventional iconography. His works evoke a suspended familiarity, examining how culture embeds itself in collective memory. Concluding the exhibition, Maria Balea presents works shaped by surrealist and alchemical influences. Her painterly surfaces shift between solidity and fluidity, generating contemplative landscapes that reflect the inner rhythm of being and the ceaseless transformation of reality, exploring a future balance between technology and nature.
