NISO is rooted in dialogue: between generations and visual languages, between the urgency of the new and the persistence of the essential. We support artists who challenge the surface—who think through gesture, color, material, and historical awareness. Our program is guided by three core principles, woven into a curatorial approach that is precise, attentive, and rigorous: (I) supporting artists with distinctive voices; (II) bringing renewed attention to overlooked trajectories; (III) fostering meaningful dialogues between works, languages, and generations.

(I) Discovery: We are committed to emerging artists who work with evolving visual languages and a sharp formal sensibility. We seek voices that, through visual intensity, raise new questions and expand the scope of contemporary artistic practice.

(II) Critical Recovery: We revisit significant yet neglected paths in art history—works that speak to the present and deserve to be re-examined through fresh perspectives. This approach is grounded in a reflective reading of the past, oriented toward transformation.

(III) Intergenerational Dialogues: We connect artists across generations and geographies, activating productive tensions and shared sensibilities. Rather than searching for stylistic similarity, we look for converging concerns—stories that resonate across time and challenge how we see and understand art today.

Together, these principles form the foundation of our work and the heart of our activity: a way of thinking through art with curatorial precision, openness, and care. 

NISO is rooted in dialogue: between generations and visual languages, between the urgency of the new and the persistence of the essential.

Bridging Art History with Contemporary Practice. 

Daniel Brusatin (Bogotá, 1989) works fluidly across painting, sculpture, glass, ceramics, and architecture, each material and process serving a meticulous inquiry into form and memory. His practice begins with an attentive listening to matter—charred wood, tinted glass, glazed ceramic, pigment laid as a veil. In his hands, objects take on the presence of breathing organisms, their surfaces becoming sites where light and substance enter into a quiet, resonant dialogue.

Each work carries the echo of a larger whole, a fragment of an unseen architecture or a landscape only partially revealed. Studies in Italy and formative experience in London alongside Brian Clarke refined his mastery of stained glass and complex artisanal processes, yet his language extends beyond craft: every gesture reads as a meditation on erosion, resilience, and permanence.

In recent series, Brusatin articulates a poetics of tension: creation and destruction, the artisanal and the industrial, the intimate and the monumental. His works act as thresholds—spaces where viewers encounter the weight of time and the vibrancy of material.

For NISO, Brusatin represents a practice that unites tradition with contemporaneity, rigour with sensitivity. His work embodies ideas rather than illustrating them, pursuing the deep respiration of matter. Each piece invites the eye to slow down, to witness how silence crystallises into structure, and how every fragment holds, in potential, an entire world.

Daniel_Brusatin_CV.pdf

Intimate Immensity, 2025 Oil, Gesso on Burlap Collage 200 x 300 cm 

Totem, 2024 Victorian Railway Oak Sleepers 259 x 25 x 15 cm each

Entropy and Intent, 2022 Oil, Gesso on Burlap 160 x 120 cm 

Rendez-vous, 2022 Oil, Gesso on Burlap 160 x 120 cm 

Malaké, 2022 Oil, Gesso on Burlap 160 x 120 cm 

Woven Language, 2020 Oil, Gesso and Burlap on Canvas 180 x 90 cm 

Poetic Weave, 2019 Oil, Gesso and Burlap on Canvas 180 x 90 cm 

The Flower is Always in the Almond, 2024 Venetian Glass and Carrara Marble 100 cm diameter 

Max Wechsler (Berlin, 1925 – Paris, 2020) lived as a Jewish child refugee in France from 1939, having fled Nazism, and from that moment developed a heightened awareness of language as a boundary. A self-taught artist and graphic designer recognized late in life, he developed his practice on the margins of dominant circuits. Nonetheless, his work has been embraced by institutions such as the Centre Pompidou, the Musée d’Art et d’Histoire du Judaïsme, and the Berlinische Galerie. Wechsler's work has been recognized for its distinctive visual exploration of language and memory, contributing a unique perspective to the art of the late twentieth century.

In his early years as an artist, Wechsler focused on a form of graphic investigation rooted in abstraction. His work leaned toward a material sensitivity, where texture and composition took center stage. These initial pieces, though not yet incorporating text, already revealed a tendency toward visual economy, formal restraint, and expressive silence. In this early period, a faint echo of surrealist sensibilities—particularly in their attention to the unconscious image and poetic disjunction—can be discerned, although Wechsler’s path would diverge toward a radically different grammar. The later introduction of language did not represent a break, but rather a conceptual intensification of this poetics of the fragment.

It was over time that text and typography came to occupy a central place in his practice. From that point on, Wechsler transformed the act of writing into a plastic gesture. His work—constructed through fractured typefaces, layers of paper, and visual memory—does not seek to speak, but to make visible the resistance of the sign once clarity has been suspended. Wechsler does not narrate. He superimposes. He covers. He extracts from the printed letter—fragmented, dismembered, at times illegible—a new surface language, a visual rhythm composed of cuts and voids. Each of his compositions behaves like a skin that accumulates time: the visible becomes trace, the text becomes matter, and reading becomes an act of excavation, a layered effort of deciphering and reconstruction.

His practice emerges in the interstices—between memory and oblivion, between word and silence. Wechsler works with discarded printing papers, disfiguring and reconfiguring them. He interrogates legibility itself. Instead of searching for meaning, he exposes its ruin. The letter, liberated from its semantic function, becomes a visual particle: a residue, an interruption, a tension.

This transformation of typography into pictorial surface is not a formal strategy but a form of embodied thought. Matter becomes argument, and collage becomes critique. Every printed fragment carries a history—of violence, displacement, survival. Wechsler does not illustrate that history: he condenses it.

His work sits at the crossroads of conceptual art, radical material experimentation, and graphic tradition, while belonging fully to none of these lineages. What he creates is not a style, but a field of visual questions that inscribe themselves into art history as a fertile anomaly—a practice that thinks language through its fracture.

Wechsler does not seek impact. His work does not impose itself: it waits. As if each composition were a sentence not yet written. Or better still: a way of speaking without words. A way of remaining.

Within the context of NISO, the presence of Max Wechsler functions as an axis of depth. His work introduces a different temporality—layered, critical, silent—that expands the curatorial field toward an archaeology of signs. Against spectacle, he proposes reading. Against discourse, the fragment. Against excess, density.

Max Wechsler CV+BIO.pdf

NISO is pleased to present Mateo Revillo's first solo exhibition in the UK, Forms Have Attitude, opening Wednesday April 1st. 

Mateo Revillo’s exhibition at NISO extends the gallery’s sustained attention to practices that generate form from within—where matter, structure and time operate as conditions of thought.

NISO

NISO

02.04—09.05.26

02.04—09.05.26

Artists

Daniel Brusatin

Daniel Brusatin

Max Wechsler

Max Wechsler

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