Artexpo New York returned for its 49th edition—and what a celebration it was. From April 9–12, 2026, Pier 36 in Manhattan’s vibrant Lower East Side transformed once again into a global hub for contemporary art, welcoming collectors, curators, and art lovers from around the world.

This year’s fair brought together 170 leading galleries, publishers, and independent artists, showcasing an extraordinary range of original works. From painting and sculpture to photography, ceramics, glass, and fine prints, every corner of the fair offered something new to discover. The energy was unmistakable—buzzing conversations, meaningful connections, and strong sales made it clear that the appetite for fresh, compelling art is stronger than ever.

With attendees representing 24 countries, Artexpo New York 2026 stood as a powerful reminder of the global reach and enduring impact of the contemporary art market—and the artists who continue to shape it.

Artists and galleries were presented special honors as recipients of this year’s Artexpo Awards. This year’s proud winners were the following:

BEST BOOTH DESIGN: Song Chao, Gallery A.T. 108, Frank Baer Photos

BEST SCULPTURE AWARD: Caridad Sola at K-Art Projects USA – “In Gods We Trust…a Decade Later…2026”, Evelyne Brader-Frank at Drew Marc Gallery – “Niki”, Marc at AGI – “Japonae Series”

BEST SOLO EXHIBITOR: Rajul Shan, Angela Lanell, Edward Bakst, Prayer Art – Hisakazu Suzuki Art

BEST NEW EXHIBITOR: Japan Promotion, NY Korean Artists Association, Suqun Studio, CAS Art

BEST INTERNATIONAL EXHIBITOR: Mongolian Fine Art, Aurich Artist Group, Artisans Japan, Artpetrovnik, Pal Argentina – Alejandra Branc

AWARD OF EXCELLENCE: Midori, Jason Perez Art, Richard Riverin, Artavita / World Wide Art, Perseus Gallery

DIRECTORS AWARD: Mitchell Craig, Art By Neelam, Dr. Erick Mota, D. Colabella Fine Art Gallery, Mido Galleria, Famespace

LIGHTS, CAMERA, ACTION! THE MEDIA BUZZED!

Our team captured all the weekend’s unforgettable moments so you can relive the excitement! Browse our Flickr photo album or check out our latest posts on Facebook and Instagram for a glimpse into everything Artexpo New York had to offer. A huge thank you to everyone who liked, followed, and shared—we love keeping you connected and inspired!

Want more? Go behind the scenes and enjoy exclusive video highlights from the world’s original fine art marketplace.

Media coverage included a shout-out in American Art Collector, Shoot Magazine, Art World News, Art Insider, Fashion Week Daily, Artsy, World Liberty TV, and Just Luxe among others.

 

WITH OUR THANKS

A heartfelt thank you to the incredible exhibitors, artists, galleries, and collectors who brought Artexpo New York 2026 to life. Your creativity, passion, and commitment are what make this fair such a dynamic and inspiring experience year after year.

We’re also deeply grateful to our sponsors and partners for their continued support in helping us deliver one of our most exciting editions yet.

The connections made, the artwork shared, and the momentum created over these four days will carry forward long after the fair—and we’re honored to be part of that journey.

We can’t wait to welcome you back for Artexpo New York 2027—our 50th Anniversary edition — taking place April 8–11 at Pier 36. It’s going to be a milestone celebration you won’t want to miss.

There’s a photograph Shane Hendren keeps that captures an earlier life: him on a bull, eight seconds away from either glory or disaster, the crowd roaring, everything depending on grip, balance, and nerve. That was before jewelry, before metalsmithing, before three IACA Artist of the Year awards. “I traded one precarious life of ups and downs for another,” Shane reflects. “Most people don’t choose the life of an artist, so you really have to want it.”

Want it he did. For over 20 years, Shane has dedicated himself to mastering metalsmithing, creating jewelry that refuses easy categorization. His work demonstrates technical sophistication across multiple techniques: mokume-gane, cuttlefish casting, tufa casting, hollow form construction, and hand-engraving. But technique alone doesn’t explain the work’s impact. Shane’s jewelry carries something harder to define: authenticity earned through ranching roots, artistic education, cultural complexity, and absolute commitment to craft.

The Ranching Foundation

Shane was born into a New Mexico ranching family, growing up surrounded by livestock, cowboys, and the equipment they trusted their lives to. This foundation matters more than romantic nostalgia suggests. Ranch culture values function over form, quality over flash, and durability over decoration. Equipment that fails can injure or kill. Respect for well-made things isn’t an aesthetic preference. It’s a practical necessity.

“I learned that the quality of a person’s equipment reflected their dedication to their vocation and respect for their equine partners,” Shane explains. This early lesson about craftsmanship and character influenced everything that followed.

His grandfather kept World Champion Quarter Horses and ordered fancy silver bits from craftsmen in the USA and Mexico who built them individually by hand. Young Shane wondered about these makers, people who dedicated their lives to producing what he recognized as works of art. The bits couldn’t be found in local feed stores. They came from somewhere else, from someone specific, carrying the mark of individual skill and vision.

This awareness that beautiful functional objects emerged from dedicated craftspeople planted seeds that took years to germinate. Ranch life provided one education: work ethic, respect for tradition, and understanding that excellence requires sustained effort. But his family also exposed him to museums and cultural activities, broadening his horizons beyond ranching.

The Educational Path

Shane’s artistic journey formally began at the Institute of American Indian Arts, where he earned a degree in Museum Management while developing a foundation in metalsmithing and silversmithing. The metals classes provided a solid technical foundation and revealed the limitless possibilities of noble metals.

After IAIA, he worked at the prestigious Museum of the American Indian in New York City, gaining professional experience in cultural institutions. But the pullback to the West proved strong. He enrolled at the University of New Mexico, completing a BFA in all disciplines in 1993, a rare achievement demonstrating proficiency across painting, sculpture, film, dance, metal arts, pottery, and ceramics.

“I did it all, and I did it all well,” Shane notes without false modesty. The multidisciplinary education matters. It demonstrates both capability and curiosity, as well as a willingness to engage seriously with varied media and approaches. Many artists specialize early. Shane took longer, exploring broadly before committing to jewelry.

At UNM, he built his first spurs from scratch for a metal sculpture class. The project required defending spurs as art during critiques. The prevailing belief held that functional objects couldn’t be art. Shane successfully argued otherwise through copious research about cowboy arts and their long traditions.

This debate about art versus craft, function versus aesthetics, continues in jewelry. Shane’s position remains clear: context matters, but excellence transcends category. A beautifully made functional object deserves recognition as art if it demonstrates vision, skill, and authentic expression.

The Cultural Complexity

Shane’s ancestry includes Irish, Choctaw, and Navajo bloodlines. This mixed heritage provides rich cultural foundations but also creates questions about identity and categorization. The art market loves clear labels: Native American artist, Western artist, contemporary jeweler. Shane resists such limitations.

“I never did, and to this day I don’t self-identify as an Indian artist,” he states. “I never saw myself that way. I’m a genuine American.”

This self-description carries significance. It claims American identity without denying heritage, asserts individuality while acknowledging roots. Shane learned metalworking at institutions focused on Native arts. He creates jewelry that often employs techniques and aesthetics associated with Southwestern and Native traditions. But he refuses to let heritage limit artistic exploration or define the meaning of his work.

“With my museum background, I cringe to see things piled on top of each other,” he explains. “I like to see a painting or a piece of jewelry stand on its own merits, so I have these standards for how I think a gallery should present art. I only want to be represented by galleries that show a diversity of art and aren’t constrained by all of the idioms that exist.”

This position requires courage in markets that prefer easy categorization. Native art shows and galleries expect certain aesthetics and content. Contemporary jewelry markets favor different approaches. Shane navigates between these worlds, creating work that succeeds in both while remaining distinctly his own.

The Technical Mastery

Shane’s jewelry demonstrates exceptional technical control across multiple specialized techniques. Mokume-gane is a Japanese metalworking method that creates wood-grain patterns by laminating metals. Tufa casting is a traditional technique using compressed volcanic tuff to create unique organic textures. Hollow-form construction: building three-dimensional jewelry forms through careful metalworking. Hand engraving, adding surface detail through precise tool control.

Each technique requires years of practice to master. That Shane commands all of them speaks to his dedication and capability. But the technical mastery serves vision rather than dominating it. The work never becomes a mere technical demonstration. The techniques enable specific aesthetic effects, particular qualities of surface, form, and presence.

His engraved pieces showcase especially sophisticated control. The patterns are crisp, consistent, demonstrating the steady hand and focused attention that engraving demands. Works like his engraved rings with garnets, sapphires, or turquoise balance substantial metalwork with careful stone setting, creating pieces that feel both bold and refined.

The tufa cast pieces possess distinctive organic texture, surfaces that suggest natural forms while maintaining controlled design. The oxidized finishes on some works create dramatic contrast, dark surfaces making bright stones or polished areas more striking.

Subject Range and Design Vocabulary

Shane’s work spans traditional Southwestern motifs (conchos, crosses, Zia symbols) alongside more contemporary designs. This range demonstrates both versatility and refusal to limit himself to a single aesthetic or market category. A Star of David pendant sits in his portfolio alongside traditional Native motifs, reflecting his commitment to creating what interests him rather than what markets expect.

His ring designs show particular strength. Substantial without being bulky, they demonstrate understanding of how jewelry functions on the body. The proportions work for actual wear, not just display. Statement pieces like his “Door Knocker” rings command attention while remaining wearable. Simpler bands show equal care in execution, proving that restraint requires as much skill as elaboration.

The earring designs balance size and weight thoughtfully. Drop earrings provide visual impact without discomfort. The stone choices show sophisticated color sense: deep garnets, vibrant turquoise in various grades (Sleeping Beauty, Kingman, Royston), rich sapphires, and purple amethyst. Each stone receives an appropriate setting and context.

Pendant designs range from simple geometric forms to more complex compositions. Some feature single dramatic stones. Others employ multiple elements, creating visual interest through arrangement and metalwork detail. The variety demonstrates creative range while maintaining consistent quality across all designs.

The Studio Practice

Shane works from his New Mexico studio, maintaining the disciplined practice required for technical excellence. Metalsmithing demands sustained concentration, precise tool control, and patience. Engraving particularly requires hours of focused attention for complex patterns. Tufa casting involves carving molds, pouring molten metal, and finishing cast surfaces. Hollow form construction builds complex three-dimensional shapes through careful metal manipulation.

Each technique presents different challenges and rewards. Shane’s willingness to work across multiple methods rather than specializing in a single approach demonstrates both capability and creative restlessness. He could have mastered one technique and built a career producing variations on proven formulas. Instead, he continues exploring, experimenting, and pushing technical boundaries while maintaining consistent quality.

This approach requires confidence and commitment. Learning new techniques means accepting temporary incompetence, risking failures, and investing time without guaranteed results. But it keeps the work vital, prevents stagnation, and ensures ongoing creative development.

The Collector Appeal

Collecting Shane Hendren means acquiring work from an artist who bridges multiple traditions while maintaining an individual voice. His jewelry succeeds in Native art markets, contemporary jewelry contexts, and Western art galleries. This versatility makes his work appropriate for various collecting strategies.

Some collectors focus on specific techniques, acquiring examples of his tufa cast work, engraved pieces, or hollow forms. Others emphasize particular jewelry types: ring collections, earring sets, and pendants. Still others respond to his use of specific stones: turquoise enthusiasts, garnet collectors, sapphire admirers.

The work suits both casual and formal contexts. Simpler pieces work for everyday wear. Statement pieces make a statement for special occasions. The quality construction ensures durability. These are heirlooms in the making, jewelry that withstands regular wear while maintaining beauty.

For collectors interested in contemporary Native jewelry, Shane represents an important voice that honors traditions while refusing to be limited by them. For Western art collectors, his work connects to cowboy craftsmanship traditions while demonstrating sophisticated contemporary sensibility. For jewelry collectors generally, his technical mastery and design intelligence provide substance beyond surface beauty.

Looking Forward

Shane continues his practice after two decades of dedicated metalsmithing. His technical capabilities continue to expand. His design vocabulary keeps evolving. But the core commitment remains constant: creating excellent jewelry without limiting himself to a single market, tradition, or aesthetic.

His multidisciplinary education, ranching background, mixed heritage, and absolute dedication to craft combine into a distinctive artistic voice. The jewelry succeeds because it’s genuinely his, reflecting real experience and hard-won understanding rather than calculated market positioning.

The three IACA Artist of the Year awards represent peer recognition of sustained excellence. But Shane’s significance extends beyond honors. He demonstrates that American jewelry can draw on multiple traditions while transcending them, that technical mastery serves rather than dominates artistic vision, and that cowboy values of quality and authenticity translate successfully into fine art contexts.

Working from his New Mexico studio, with the discipline learned from ranching and the technical skills honed through years of focused practice, Shane Hendren continues to create jewelry that honors his complex heritage while asserting his individual voice. For collectors seeking work that bridges traditions without being bound by them, that demonstrates exceptional craft while maintaining creative vitality, Shane’s jewelry offers exactly that synthesis. The bull riding days are past, but the willingness to risk everything on balance, skill, and nerve remains. He traded one precarious life for another, and both require absolute commitment. The jewelry proves he made the right choice.

Where Art Takes Center Stage: Spotlight on Red Dot Miami

John Denis – Booth 716

Chicago, IL

https://www.johnjosephdenis.com/

John Denis is a contemporary artist who has over the last two decades developed a signature medium using glass and acrylic. Denis’s art opens the boundaries of glass as sculpture.  He introduces an esthetic that bridges abstract, architectural and natural form. The work presents a modern sensibility to texture, light and composition.

Nguyen Thanh Gallery – Booth 703

Ho Chi Minh City, Vietnam

http://www.nguyenthanhartist.com

For twenty-five years, Nguyen Thanh has explored the philosophy of peace through painting. Each work is a chapter in his journey, capturing calm within movement and finding serenity amid chaos. Through abstraction, he transforms tension into softness and noise into quiet strength. For Thanh, art is a guide to inner peace, inviting viewers to pause, breathe, and be renewed.

OSJ Art Factory – Booth 416

Gyeonggi-Do, Korea

https://www.osjartfactory.com/

OSJ Art Factory is dedicated to discovering and nurturing artists, curating engaging exhibitions, and offering educational programs to enrich the cultural and artistic community. The gallery supports artists by participating in both domestic and international art fairs, presenting a diverse range of art, and collaborating closely with creators to help them advance in the art world.

Scarcity Hub – Booth 712

Chester Springs, Pensylvania

https://scarcityhub.com/

Featuring Elena Salova, a Ukrainian-born, Spain-based artist, blends classical and monumental art with a contemporary, introspective sensibility. Her work explores the subconscious—human emotion, intuition, and spiritual experience—transforming psychological depth into visual poetry that balances light and shadow, form, and feeling.

Art Business News: Introduce yourself — who are you, what is your vision?

Jason Perez: I’m a Miami-based art broker, dealer, curator, artist, DJ, entrepreneur. Working with artists, I value the relationships I build with fellow artists, collectors, and the community. Being a friend to those I work with is essential to creating a supportive and collaborative environment where creativity can thrive.

ABN: What is your background and how it fits with your art?

JP: My journey into the art world is deeply personal. I was born into the legacy of my father, Michael Perez, a renowned pop artist who established several galleries in New York. His influence was profound, and after moving to Miami, we opened Gallery 212 in Wynwood. Unfortunately, during the final year of our lease, my father suffered a stroke, which left me to navigate the challenges of continuing his work. With only $500 to my name, I took it upon myself to learn the intricacies of the art business. Over the next five years, through relentless dedication and hard work, I founded Jason Perez Art Collective. Today, we represent over 40 artists and collaborate with multiple galleries and venues across Miami, hosting numerous art events throughout the year. This background has profoundly shaped the gallery’s mission. My personal experiences have instilled a deep understanding of the challenges artists face, fueling my commitment to providing a platform that supports and elevates their work. The gallery’s history is intertwined with my own, and together, we strive to honor my father’s legacy by fostering a vibrant and inclusive art community in Miami.

ABN: What is your work philosophy and how does that impact your work?

JP: I believe my role extends beyond selecting and displaying artwork; it’s about creating meaningful connections between artists, audiences, and ideas. My philosophy centers on authentic storytelling, inclusivity, and collaboration. I strive to curate exhibitions that not only showcase art but also foster dialogue and community engagement. By prioritizing these values, I aim to create spaces where art becomes a catalyst for connection and understanding.

ABN: What artist(s) inspire you?

JP: The artists who inspire me most are Keith Haring, Salvador Dali, and my father, Michael Perez. I’m inspired by Haring’s bold, socially conscious energy and Dali’s limitless Imagination, while my father’s work as a pop artist taught me the importance of vision, discipline, and creating art that resonates with people. Together, their influence shapes how I approach creativity, storytelling, and expression in my own work.

ABN: What is the best advice you’ve received?

JP: The best advice l ever received is to work hard and then work even harder. It’s a simple reminder that real growth happens when you push past your comfort zone and give just a little more than what’s expected. That mindset has helped me stay focused, resilient, and continuously improve in everything I do.

ABN: When you are not working, where can we find you?

JP: Outside of work, I love exploring Miami on my bike, finding inspiration in nature, creating art and music, and building meaningful connections through networking and shared experiences.

ABN: Tell us about participating in Spectrum Miami 2025 — why is it important and what it means to you?

JP: I have high expectations for this year’s Spectrum Miami / Red Dot 2025. I anticipate it to be the biggest show yet, drawing a substantial turnout of art lovers and collectors. My hope is to add another award to my wall, and I’m excited about the opportunity to showcase my artists in such a dynamic and prestigious event.

We were intrigued with the story behind JDR Atelier when we first met them at Spectrum Miami 2023. Basically, three artists coming together to find synergy and strength in building a business together. We thought it was a story our readers would love to read and use it to inspire their own opportunities.

Art Business News: Give us an overview. Tell us about JDR Atelier, how it started, and your vision.

JDR Atelier: Having first met at an Art Fair in March 2022, Jessica de Vreeze, Daniel Marin, and Romi Myers quickly bonded over shared experiences as Miami-based artists. With diverse backgrounds and a mutual passion for growth and success in the art world, they forged a strong connection. By Spring 2023, a casual reunion evolved into an inspiring brainstorming session, sparking the idea of creating a collaborative artist collective. Drawing from each of their unique strengths and perspectives, they envisioned a shared platform to support and elevate not only each others’ creative journeys, but also the potential creative journey of other local talent. In December 2023, their vision became a reality as JDR Atelier made its highly anticipated debut at Spectrum Miami.

JDR Atelier is guided by three core principles: fueling creativity with passion, sharing life experience and representation through art, and pushing visual boundaries through innovation.

ABN: Your Collective focuses on three artists. Tell us a little about each of them and how the Collective benefits each of them. 

JDR: As a Miami-based collective, JDR Atelier is deeply committed to nurturing the city’s creative ecosystem. Having received positive feedback and community support since their debut in 2023, the co-founders invited Andre Salas to join the Collective roster for the first time this year. The co-founders’ strengths lie behind each of their skillsets acquired over the years. Jessica is a former attorney, Daniel is a public relations guru, and Romi’s expertise focuses on strategic brand positioning and tech innovation. “We utilize on our former strengths in order to help our Collective grow at a healthy and sustainable pace that works for all of us, while giving local Miami talent a voice for representation. Our goal is to create opportunities to share what it means to be from Miami – while engaging with the artwork itself, but also with amplifying the incredible talent that makes our city so incredibly unique”, says Romi Myers.

Andre Salas is a self-taught Miami-based artist whose practice is fueled by intuition and an irrepressible urge to create. Born in Grand Rapids, Michigan, and of Mexican heritage, he draws inspiration from the rhythms of his daily life. Andre experiments with acrylics, pastels, and unconventional materials to produce works that balance the raw energy of neo-expressionism with the fluidity of abstraction. His bold use of color, texture, and composition reflects a deeply personal way of interpreting the world around him. As a fresh voice in the Miami art scene, Andre aims to spark meaningful dialogue and forge genuine connections with those who engage and collect his body of work.

Working under the conceptual moniker Department M, Daniel Marin creates paintings that merge pop culture, abstraction, street art, carpentry, and décollage into colorful, surreal snapshots in time. Drawing imagery from magazines, comic books, newspapers, and other media, Marin blends visual fragments to construct layered, multidimensional works. His process—combining silk-screening, freehand painting, hand-cut stenciling, and collage—reflects both patience and play, resulting in striking compositions that feel at once familiar and unexpected. A self-taught Cuban-American artist from Miami, Daniel has works in private collections across the U.S., Latin America, and Europe. His pieces often reveal humor and tension beneath the surface, inviting viewers to unravel the stories hidden within.

Born in São Paulo, Brazil, with Japanese and Italian heritage, Romi Myers draws inspiration from the Superflat Movement, infusing her work with bold colors and striking, cartoon-like imagery. Her fascination with augmented reality, coupled with her advocacy for sustainability and environmental awareness, expands her practice into the delicate balance between physical and digital spaces. Guided by her synesthesia, she embeds hidden messages that invite viewers to look beyond the surface. Through this interplay of sensory experiences, Romi explores how art can manipulate perception, foster empathy, and spark connection—while her playful titles and tongue-in-cheek humor reveal the beauty and complexity of the human condition. As Romi’s collectors circle continues to rapidly grow both nationally and internationally, some of her work can be found at Wynwood Kollective, located in the world renowned Wynwood Art District in Miami, FL.

ABN: You’re coming back to Spectrum Miami — what’s new? What can collectors expect to see? 

JDR: First and foremost, as saddened as we were that Jessica was unable to participate this year, JDR Atelier is very excited to welcome Andre Salas into their roster! What collectors can expect is to experience art pieces that are engaging in unexpected ways, some of which bridge between physical and digital realms, including a secret virtual art gallery that can be visited from anywhere in the globe, giving those who may not be able to physically attend the event, an opportunity to see more available works for purchase. Access to the Secret Virtual Art Gallery will be made available not only during Spectrum Miami, but also accessible on JDR Atelier’s website from December 3 – 31, 2025.

ABN: What does exhibiting at Spectrum Miami 2025 with JDR Atelier mean to each of you?

JDR: More than just another Miami Art Week stop, Spectrum Miami is an opportunity for celebration of up and coming local talent, ensuring that emerging voices from Miami share the same stage as international headliners.

“It means a lot to me. It is the few days out of the year where emerging artists like me  get the chance to connect with people who are passionate and interested in art.” – Andre Salas

“Being given the opportunity to represent Miami at a global scale during one of the largest art weeks in the US, is a humbling experience. A decade ago, I used to be paid to fly out from Seattle to attend Spectrum Miami and Miami Art Week for design inspiration, but now I have a chance to inspire others instead. It is something I am beyond grateful for at every event.” – Romi Myers

“Unlike the rest of the year when we’re launching pop-up shows and trying to get people to come out to see our newest works, Miami Art Week is the one time a year where the masses seek out art and artists alike to get inspired. Spectrum Miami is one of those stand-out fairs where attendees know they can connect with both local and international talent and discover the undiscovered for themselves.” – Daniel Marin

About JDR Atelier

Having first met at Superfine Miami in March 2022, Jessica de Vreeze, Daniel Marin, and Romi Myers quickly bonded over their shared experiences as Miami-based artists. With diverse backgrounds and a mutual passion for growth and success in the art world, they forged a strong connection. By spring 2023, a casual reunion evolved into an inspiring brainstorming session, sparking the idea of a collaborative artist collective. Drawing on their unique talents and perspectives, they envisioned a shared platform to support and elevate one another’s creative journeys.

In December 2023, their vision became reality as JDR Atelier made its highly anticipated debut at Spectrum Miami. This marked the beginning of an exciting new chapter in the art world—one destined to leave a lasting impression. As the saying goes, the rest is art history.

Connect with them:

Email: hello@jdratelier.com

Follow: @JDR_Atelier

In a recent conversation with Rami and Karyn Rotkopf, founders and owners of Blue Gallery in Delray Beach, Florida, we were reminded of the captivating minimalist landscapes created by Sveta Esser. Her innovative style, known as Pixelism, has become highly collectible and will be featured in Blue Gallery’s 20th Anniversary Celebration coming March 2026.

Read on to discover more about Esser and her remarkable work.

ABN: Introduce yourself — who you are and what your vision as an artist is?

Sveta Esser: I was born in Ukraine in 1975 and studied art at the Yekaterinburg College of Art, located in a picturesque mountain region known for its natural beauty. After my initial degree in Russia, I did a student exchange program in Europe, where I pursued my second art degree.
In 1996, at the age of 20, I moved to Israel with my husband, Alex Pauker, who is also an artist.
Alongside my formal training, I gained professional experience working as an illustrator and as a creative consultant for a publishing house in an artists’ village near Haifa. During this time, I explored a variety of painting techniques and quickly discovered a passion for the rich, textural quality of palette knife painting. I drew inspiration from the stunning landscapes and rural scenes of Israel and Tuscany, which continue to influence my work today.

ABN: What is your background?

SE: As an artist in today’s world, I work in a unique technique that I call Pixelism. My artwork immediately captivates the viewer with vibrant colors and a truly original approach to composition. The core of my method is that each painting consists of numerous squares and pixels, and each one of them possesses its own unique shade, collectively creating a stunning visual effect.
My technique is not just a style. For me, Pixelism is a metaphor for life and integration: every single pixel is important and unique, but only together do they form a complete, harmonious picture. This is a principle I carry over into my social work as well.

I believe my creations exemplify innovative thinking that is highly relevant in the modern artistic context. For me, art is not an escape from reality, but a way to transform it. I use my brush and palette knife to build bridges—between cultures, between ideas, and between people. This commitment allows me to be one of the prominent figures in today’s art world.

ABN: What is your work philosophy and how does that impact your work?

SE: My goal is not simply to create a beautiful object, but to provoke a dialogue. I want my work to generate an emotional resonance and make the viewer reflect on how we perceive the world—both from a distance and up close.

Upon closer inspection, viewers can uncover hidden details that only become fully visible from a certain distance away from the canvas. This interactive approach to art fosters a unique connection between the viewer and the artwork.

ABN: What artist(s) inspire you?

SE: In my creative process, I skillfully blend several major influences. I draw inspiration from Surrealism, paying homage to masters like Salvador Dalí, as well as from abstraction in the spirit of Gerhard Richter. Furthermore, my pieces clearly reflect the influence of Pop Art, famously represented by Andy Warhol, mirroring contemporary society and its perception of art.

ABN: What is the best advice you’ve received?

SE: Stay true to what draws you to create — your instincts, your obsessions, your style. Trends change fast, but your voice is what lasts. Show up. Even if it’s a bad day in the studio. Creativity builds with momentum, not waiting for inspiration to strike. Art is personal, but the journey doesn’t need to be lonely. Surround yourself with other artists — for feedback, support. Be generous in return.

ABN: When you are not working, where can we find you?

SE: My husband and I currently live in Oranienburg, a suburb of Berlin, Germany. In our art studio, we launched an initiative in collaboration with the City of Oranienburg called “Welcome to Oranienburg.” Through this program, we host joint art classes for children from Ukraine and Germany. Together, we create artwork in a shared, supportive space. It’s a delicate and meaningful endeavor — our goal is to help restore a piece of the childhood that some of these children have lost, easing their arrival and offering support as they navigate a range of challenges. Since April 2025, I serve as the chairwoman of the board.

ABN: Any plans for 2026? Where will your creativity take you?

SE: My husband, Alex Pauker and I will participate in a Group Exhibition in the USA. It will be the 20 year Anniversary Exhibition of Blue Gallery in in Delray Beach, Florida (March 21-22, 2026).

About Blue Gallery

Mixing sophisticated flare with contemporary art, Blue Gallery features original collections of internationally-acclaimed artists painting landscapes, abstracts, semi-realistic, realistic and figurative styles. Founder/owner, Rami Rotkopf, grew up in the family art business in Tel Aviv, Israel. Extremely familiar and immersed with the kind of adrenaline buzz that is so typical of the atmosphere present in the art industry, Rotkopf adeptly infuses this energy into his Blue Gallery. He reflects a lifetime of gallery experience and exposure to art and is committed to discovering and exposing the work of extremely talented artists. He combines his knowledge and vision, with his passion for the arts, and represents some of the most well-defined and celebrated contemporary artists of today.

 

Learn More about Sveta Esser https://www.bluefineart.com/artist/sveta-esser

Instagram: https://www.instagram.com/bluefineart/

https://www.instagram.com/stories/highlights/17976933421256356/

With its sun-soaked beaches, lush parks, and sparkling waterfront, San Diego has long been a city that inspires creativity. Beyond the postcard-perfect scenery lies a thriving art scene — one filled with world-class museums, contemporary galleries, and an ever-growing community of artists and collectors.

Amid this vibrant coastal culture stands Lorna York, founder and owner of Madison Gallery, whose vision and dedication have helped shape San Diego’s reputation as a destination for fine art. We had the pleasure of checking in with Lorna to explore what it takes to create — and sustain — a successful gallery in this dynamic city.

ABN: Lorna, for readers who may not yet know you – can you share a bit about your background and how Madison Gallery came to be?

Lorna York: I opened Madison Gallery over 20 years ago with a simple conviction that world-class contemporary art should be accessible beyond the usual cultural capitals. What began as a small coastal gallery in San Diego has grown into a $50 million business and one of Southern California’s leading contemporary art destinations — built entirely from the ground up. I started Madison Gallery with no outside investors, just a deep belief in the artists I represent and a desire to create meaningful cultural dialogue in San Diego.

When I first opened Madison Gallery, people questioned whether a high-end contemporary program could thrive outside of main cultural capitals. Two decades later, we’re seeing collectors fly in from across the country and media comparing our exhibits to those in New York and LA. That evolution affirms what I’ve always believed – that great art transcends geography.

ABN: What was the driving vision behind the gallery, and how has that evolved over time?

LY: From the beginning, Madison Gallery has been guided by the idea that art is an experience – not just an object. Our collectors are drawn to the stories, the emotional resonance, and the cultural relevance behind the work. Today’s generation of collectors is less interested in gatekeeping or elitism; they want to be invited into a narrative. So we create that context – helping them connect intellectually and personally with the artists.

Over the years, our mission has expanded from representing a roster of exceptional contemporary artists to truly shaping the region’s cultural landscape. We’re proud to be among the few galleries in San Diego County introducing international artists of the caliber typically seen in New York or Los Angeles — artists like RETNA and Radenko Milak — to this market.

ABN: What sets Madison Gallery apart from other contemporary art galleries?

LY: We’re a thriving, independent gallery at a time when headlines about major galleries shuttering are increasingly common. I think our longevity stems from two things: our relationships and our perspective. We take an extremely personal, long-view approach to every artist and collector we work with. That means guiding clients through the narrative and emotional layers of the art they live with, while giving our artists the platform and resources to develop museum-level exhibitions. And we’ve remained women-owned and women-lead, which brings a different energy to how we do business: relational, intuitive, but also strategic and resilient. We’ve come a long way in what is considered a male-dominated field — and in a shrinking market, no less.

ABN: How would you describe your curatorial philosophy?

LY: I’m drawn to art that invites people to connect – with themselves, with others, or something bigger. Whether it’s the powerful scriptural abstraction of RETNA’s recent exhibit, Love Letter | Carta De Amor, or the profound watercolors in Radenko Milak’s current exhibit, Four Seasons Interrupted, we’re always looking for work that evokes connection and cultural dialogue. Both artists, along with the range of mid-career artists we represent, embody what I consider Madison Gallery’s essence: they tell stories that transcend language and geography, reminding us that art remains one of our most universal forms of connection.

ABN: How do you see the role of the gallerist evolving, especially in a changing art economy?

LY: Gallerists today must be translators – not just sellers. We’re bridging artists and audiences across continents, platforms, and generations. At Madison Gallery, we think in terms of legacy: how are we future-proofing our artists’ careers, and how are we contributing to a richer, more inclusive art ecosystem here in San Diego? That means strategic partnerships, international art-fair participation, and collector education — but also, creating space for meaningful conversation.

ABN: What’s next for you and Madison Gallery?

LY: We just wrapped up a major exhibit with RETNA and now we’re unveiling Radenko Milak’s Four Seasons Interrupted, on view now through December 15th at our gallery. This will be Milak’s second solo exhibit with us and we’re excited to welcome him back to our gallery to showcase his latest body of work, which grapples with the fragility of nature and time.

Looking ahead, we’re expanding our presence internationally, including our third presentation at Zona Maco in Mexico City next year. I also look forward to showcasing my artists again at Art Dusseldorf and Istanbul Art Fair. For me, it’s about continuing to build bridges between artists, collectors, and cultures.

ABN: Finally, what advice would you give to aspiring gallerists or collectors?

LY: Lead with curiosity and integrity. Build relationships first, the sales will follow. If you lean into your vision and stay open, engaged, and honest, you’ll build something that lasts.

LORNA YORK BIO
Lorna York is the founder and owner of Madison Gallery in Solana Beach, California. Since opening the gallery in 2001, she has built it into a leading destination for contemporary art, introducing globally renowned artists to Southern California audiences through innovative, immersive exhibitions. With a global perspective and a passion for connecting art, culture, and travel, Lorna has positioned Madison Gallery as a destination for personalized one-on-one curatorial and educational experiences in the arts. When she’s not curating exhibitions, Lorna is often exploring the world’s art capitals — always in search of new inspirations to share with her collectors and community.

Art Business News recent had the opportunity to speak with Sabrina Evan, founder and curator of SAB Gallery Collection, about the gallery’s expansion and success —and their launch into a dedicated booth at Red Dot Miami 2025.

ABN: Sabrina, it’s great to have the opportunity to spend a little time with you and learn more about SAB Gallery Collection, your mission, and growth.

SE: SAB Gallery Collection was born from recognizing a clear gap in the art industry: the underrepresentation of female creatives. From day one, our mission has been to create a platform dedicated to educating, promoting, and empowering women in the arts. We believe that art is not just about aesthetics — it’s about amplifying voices, telling untold stories, and building a movement where women artists are celebrated and supported. What began as a passionate response to this need has grown into a gallery with a strong national presence, committed to shaping the narrative of contemporary art through the lens of female creativity.

ABN: For the past several years, SAB has been exhibiting as part of the Perseus Gallery’s booth at Red Dot Miami. This year is different. Tell us about it.

SE: This year at Red Dot Miami, SAB Gallery Collection is stepping into a new chapter with a dedicated booth designed as a special installation and immersive visual experience. We wanted to create a space that resonates deeply with collectors who are passionate about supporting women in the arts. The decision came from both momentum and mission — after seeing the excitement and demand around our past showcases, it became clear that we needed to expand our presence to fully express our curatorial vision. Our booth will not only highlight outstanding works but also serve as an inspiring environment for dialogue, discovery, and connection.

ABN: Tell us a bit more about the artists you will be featuring at Red Dot Miami 2025.

SE: SAB Gallery Collection’s lineup this year reflects both continuity and growth. We are proud to showcase many returning artists like Peyton Scott, Claudia Concha, and Lindsay Tobias (who received an award during the Art San Diego 2024 exhibition) and whose careers we have been actively promoting and nurturing, alongside exciting new talents who bring fresh perspectives to our platform. Through consistent curatorial work, national fair participation, and dynamic social media engagement, we’ve been building a community that supports artists on a long-term journey.

ABN: Sabrina, how do you find the artists that become part of the SAB Gallery Collection?

SE: Our open calls and artist opportunities have become a way for new voices to step forward — and several of these emerging creatives will be joining our Red Dot presentation. Together, the artists form a powerful collective: a blend of established names and new discoveries, unified by the shared mission of using art as a vehicle for storytelling, empowerment, and change.

ABN: We can’t wait to see what SAB Gallery Collection and their artists bring to the Red Dot Miami fair this year. The SAB presentation has always been innovative. It sounds like the artwork, the energy, and the collaboration will come

To learn more about SAB Gallery Collection, visit https://www.sabgallerycollection.com/

And Instagram https://www.instagram.com/sabgallerycollection/

All images courtesy of SAB Gallery Collection.

This Spring, multidisciplinary artist Evan Paul English curates a group exhibition Inner Excess at the combined contemporary art gallery and tattoo studio Distortion Society (Beacon, NY). English’s work explores the intersection of image-making, spirituality, the body, and the ways in which capitalist consumerism shapes our perceptions of all three. Each artist in this exhibition brings a unique perspective to these themes, reflecting personal ideologies that are often shaped by shared histories and environments. Together, their works form a dialogue that questions value, visibility, and the blurred boundaries between the material and metaphysical realms.

Gracelee Lawrence (she/they) investigates the fragmented, gendered nature of the body by merging their own form with edible plants through 3D scanning and software manipulation. Their sculptures explore the ecological and ethical complexities of bioplastics, offering a meditation on the intersections of technology, consumption, and corporeality.

Similarly engaging with historical and material narratives, Colleen Rae Smiley (she/her) presents a ceremonial apron inspired by the protest garments of Suffragettes. Her work highlights the significance of the table on which the Declaration of Sentiments was signed in 1848—also later used for séances—suggesting the convergence of activism, spirituality, and the enduring struggle for visibility and agency.

Jared Freschman (he/him) turns inward, illustrating in colored pencil a personal ritual of drawing tarot cards upon waking. The recurring presence of The Empress—a symbol of divine femininity, creativity, and sensory awareness—evokes a spiritual practice rooted in self-discovery and intuitive connection.

Kat Ryals (she/her) interrogates notions of luxury, craft, and mass production by blending the aesthetics of 18th-century European Savonnerie rugs with modern banquet carpets. Her hand-built collages, later printed onto velvet rugs using consumer-level technology, lure viewers with opulent imagery only to reveal compositions of discarded, artificial, and dead materials. This juxtaposition challenges our perceptions of value, questioning the seductive yet deceptive nature of commercial aesthetics.

Sam Reeder (he/him) harnesses the allure of neon to explore digital communication and sexual desire. His neon sculptures expose the tension between visibility and secrecy, using the medium’s provocative presence to bring private longing into public space, forcing a confrontation with what is often hidden from view.

Emma Jackson (she/her) employs painting as a portal to an alternate realm accessed through transcendental meditation. Communicating with a non-human entity, she translates their world into visual form, depicting an alien history marked by cultural and environmental crises that eerily mirror our own. Her work serves as both a warning and an invitation to reflect on our collective trajectory.

Together, these artists engage with the intersections of embodiment, ritual, materiality, and desire, revealing the ways in which personal and collective histories shape our understanding of self and society. Through their varied practices, Inner Excess challenges the boundaries between the physical and the spiritual, the artificial and the organic, the hidden and the seen — asking us to reconsider what we consume, what we value, and what we choose to reveal.

To gain more understanding of the exhibition, the author and Distortion Society Gallery Director interviewed curator Evan Paul English on April 8 this year. Here is an edited version of their discussion.

MS:  Can you tell us a little about yourself and your artistic practices?

EPE: Yes! I’m a tattooer and a painter. I explore themes of domesticity, growing up queer in America is what I always put in my artist statement. As a tattooer, I use a lot of imagery found in vintage textiles, and I translate them into tattoos, which I view as an act of reclamation.

Having grown up in Idaho surrounded by these types of domestic art forms, I’m kind of reusing them in different ways, whether it’s through my gallery work, creating paintings inspired by those same patterns, or making tattoos from the same source imagery. I’m very invested in themes of Americana and what that looks like when you manipulate it and rewrite the narrative around what those images represent.

MS: You know I’m a huge fan of your work, thanks for sharing. In the curatorial statement for Inner Excess, you mention that your work, and the work in this show, explores the intersection of image-making, spirituality, the body, and the ways capitalist consumerism shape our perceptions of all three. Can you speak a little about how that plays out in your own work, and why you chose the work that you did for this show?

EPE: Yeah, so as I said, I think tattooing can be a form of reclamation; getting a tattoo can be an act of transformation and a form of reclaiming your own body. So, that to me is a very spiritual act. I think art making in general is very spiritual; making art feels like a form of spellcasting.

You’re creating something new that you’ve never seen before that you want to put out into the world. And it sort of has this ripple effect through your community and potentially even larger than that. So, my art practice is very personal and it’s a way of creating a story about myself that I’m in control of. It’s like tattooing and seeing how my body has changed through getting tattoos and liking the way I look – feeling strong in my body. It’s in essence the same process through painting.

MS: I love that! One of the most compelling aspects of this show is the varied materials and processes each artist presents: we have a 3D printed mobile, a 7 foot figurative neon wall sculpture, a suffragette-era textile banner, an 18th-century inspired rug, a transcendental painting and two vibrant color pencil drawings. There is palpable tension between themes – physical vs spiritual, artificial vs organic – and how the materials exist near one another – hand-drawn vs mechanical, soft textiles vs neon light. Can you speak a bit about this?

EPE: I was interested in the different artists work because they were so varied, but they had a similar thematic undertone. I feel like they all work with these concepts of spirituality in the body and are working in these sorts of consumer level art mediums like colored pencil, for example, or these 3D printed plastic pieces. Neon is something that we interact with on a daily basis, just in a different context. So, in relationship to consumerism, that was how I selected the works for the show.

There’s also an inwardness to all of these – they all have a tenderness and a reflectiveness. That appealed to me, or I guess I resonated with me and my own practice. So, whether they’re illustrated bodies or a spiritual practice like tarot card reading or like in Colleen’s work, the ceremonial apron that has an image of a table where seances were performed, there’s different spiritual elements in each of them. I think even neon could relate to spirituality, like light as a medium. And when I think of light as a medium, I think of stained glass in a church or the presence of light, of color. Light is just very alluring and provocative.

There’s tension between the works and different things being explored, but they’re all very colorful and they’re all really fun, too, which I think ties back into this idea of consumerism, right? Like, why are we attracted to certain things? Is it the materiality? Is it the colors? What about something makes us want to have it and feel like we need to have it? So that was something I’ve been thinking about.

And then the title of the show, which I wanted to touch on, is Inner Excess. I think we all, as Americans especially, consume a lot of information every day through our phones. Everywhere we look, there’s an advertisement. And as a result, I feel like that excess excessiveness on the exterior, on the outward, we consume it, and it kind of becomes our inner worlds, and it changes the way we think about ourselves and things. We’re downloading all this information and then we’re making art, you know, as artists, and it’s like, what do we choose to make and why? And how has the consumerism outside of us shaped the way we think about ourselves and the art we make and what we want to do with our lives?

So, that was sort of the idea. And I think as queer people too, just to speak for myself, I don’t feel like a church is somewhere I can necessarily access my spirituality. The place that I do is when I’m alone or looking inward.

MS: I also access my spirituality by looking inward. This all really resonates with me! Do you find that after working on this show these themes have infiltrated your personal work in a new way?

EPE: Yeah, I’m interested in working in more mediums – seeing people who are very good at what they do is inspiring! Haha, but seriously I think it makes me recommitted to the themes that I’m interested in. When I was curating the show, I just felt so strongly about having each of these artists work here. And that’s a process of self-investigation too: why am I so drawn to this? What does that say about myself and where I’m at in my life right now?

MS: Ah, good point! What do you hope people take away from the show?

EPE: I hope that people have a little bit of pleasure from the show, a little bit of escapism. I think because the work is so colorful and vibrant and fun to look at, I hope that there’s joy. With art shows, it’s like a big party, you’re seeing a lot of your friends and sharing art and sharing passion with each other. I think that the importance of art right now is finding community and pals to share a little joy with.

Inner Excess will be on view at the combined contemporary art gallery and tattoo studio Distortion Society, 155 Main Street, Beacon, NY through June 8, 2025. The gallery is in the front and is free and open to the public.

www.distortionsociety.com | www.instagram.com/distortion_society

The first weekend of April marked a familiar buzz in New York City as Artexpo New York returned for its 48th edition. Held from April 3–6, 2025, at Pier 36 in Manhattan’s vibrant Lower East Side, the world’s original fine art marketplace and longest-running contemporary art fair once again drew art lovers from near and far.

This year’s fair featured 200 leading galleries, publishers, and independent artists from around the globe, presenting an impressive array of original works. The fair was alive with energy — and sales — as attendees explored hundreds of pieces spanning painting, sculpture, photography, prints, ceramics, drawings, glass works, giclees, and lithographs.

With strong attendance and representation from 27 countries, the event was a clear testament to the continued passion of collectors, curators, and art professionals for discovering bold, fresh talent and innovative creations.

SO MUCH TO SEE AND DO!

Artexpo’s dynamic programming and special events kept fairgoers engaged and inspired throughout the weekend. Attendees had the chance to meet this year’s Spotlight Program recipients, celebrate Samir Sammoun’s 30th anniversary of exhibiting at Artexpo New York, and even witness new masterpieces coming to life right on the show floor.

Adding to the excitement was the vibrant Jason Perez Art Collection showcased on the Mezzanine level. From interactive experiences to unforgettable exhibitions, the fair delivered a lively blend of art, celebration, and discovery at every turn.

The Spotlight Program provided collectors with a focused look at several galleries and prominent artists who created a site-specific exhibition. Spotlight Program recipients for 2025 included:

• Ariel Rodriquez
• Bill Hao
• Haydn Lewis
• Mriya Gallery
• Neelam Padte
• Pamela Galleguillos

The newly introduced Redwood Art Prize Contest, an international award open to artists of all disciplines, celebrating creative excellence across diverse art forms with over $20,000 in prizes. This year’s inaugural contest applied “Boundless” as the theme, and the 2025 winners artworks displayed during the fair were Bret Neathery (“Blue Jean Eyes”), Gavin Hein (“Edge of Glory”), Linda Washburn Roberts (“Terraced Sunset”) and Rhea Diehl (“Howling Under a Burning Sky”).

Centered around the “Blink” theme, the debut of the Artexpo New York Digital Photo Contest challenged photographers to capture the essence of creativity and invited them to submit their most compelling images. With over $30,000 in prizes up for grabs, attendees voted for their favorite entrants using voting kiosks located around the fair.

Of course, that’s only a hint of everything that happened — take a look at the videos that capture the magic or our photo albums and you’ll see more of the action!

SALES & SUCCESS STORIES

Artists and galleries were presented special honors as recipients of this year’s Artexpo Awards. This year’s proud winners were the following:

• BEST BOOTH DESIGN: MCP2 Art Studio and Mosaic Contemporary
• BEST SCULPTURE: Art Petrovik and Alejandro Baruch
• BEST NEW EXHIBITOR: Diogo Snow and Sergio Gutierrez
• BEST INTERNATIONAL EXHIBITOR: Renssen Art, Bikoh Art Japan, and W Varso Atelier
• DIRECTORS’ AWARD: Chadwick Concepts and Jason Perez Art
• BEST [SOLO] EXHIBIT: Evie I, Jay Kim, and Hardukeh Decor & More
• AWARD OF EXCELLENCE: AGI Fine Art, AGI Fine Art: Bharat Dalal, K-Art Projects USA, and Sara Stieber

LIGHTS, CAMERA, ACTION! THE MEDIA BUZZED!

Our team captured all the weekend’s unforgettable moments so you can relive the excitement! Browse our Flickr photo album or check out our latest posts on Facebook and Instagram for a glimpse into everything Artexpo New York had to offer. A huge thank you to everyone who liked, followed, and shared—we love keeping you connected and inspired!

Want more? Go behind the scenes and enjoy exclusive video highlights from the world’s largest fine art marketplace.

Media coverage included a shout-out in MSN, Art Market Magazine, Art Insider, News India, Fashion Week Daily, Excellence Magazine, and Red Hot Monde, among others.

WITH OUR THANKS!

A heartfelt thank you to the incredible exhibitors, collectors, galleries, and artists who helped make Artexpo New York 2025 a truly unforgettable event. We’re also deeply grateful to our sponsors for their generous support in making this year’s show one of the best yet.

We can’t wait to welcome you back for Artexpo New York 2026, taking place April 9–12 at Pier 36. See you next year!