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 

Guy Haddon Grant (UK, 1986) works in a space of tension where figurative representation, classical art history and happenstance converge into a rigorous visual grammar, rooted in contemporary, physical, and speculative play. His recent work can be understood as an imaginary archaeology: forms that evoke parts of the human body—faces, limbs, organs, eyes—dismembered, displaced, extracted from their function, and suspended within a new visual order that avoids total unity.

What appears is less the figure than its trace. More than the body, its signs emerge. Instead of the ruin, what arises is that which escapes being fixed as such. In this liminal space between the symbolic and the physical, Haddon Grant constructs sculptures as material enigmas. Plaster, metal, wood: matter both fragile and firm, shaped with precision, without superfluous ornament, contained.

His sculpture unfolds without imposing itself. The viewer stands before an unfamiliar body: a chimera. The mythological reference acts as a generative structure. The works operate as hybrid assemblages, where abstraction and figuration coexist in tension, generating a perceptual unease that eludes easy answers.

From this perspective, Haddon Grant’s practice functions as a subtle critique of traditional monumental sculpture. Rather than reproducing or rejecting it, he dismantles it from within. His fragmented forms interrogate the past instead of celebrating it. They pose questions: what happens when the body loses its function, the symbol its stability, language its order?

Material contrasts reinforce this ambivalence: coarse surfaces, marked by gesture, alongside smooth, polished areas that invite a tactile and introspective reading. Everything in his work oscillates between affirmation and disappearance. There is something ceremonial and something unfinished. As if the pieces were remnants of a rite yet to be invented, or models of a corporeality still to come.

At the core of his practice, Haddon Grant embodies more than he represents. He suggests more than he defines. His sculpture presents itself as a latent state. A presence that demands slowness, attention, and a sensory disposition rarely found in the rhythm of contemporary art.

Within NISO’s curatorial program, Haddon Grant’s work contributes a dimension that is at once archaic, sensorial, and analytical. His sculpture avoids illustration and direct emotional impact. It disturbs, displaces, opens. It proposes a mode of attention born from strangeness, from fracture as a form of thought. In this sense, it enters into dialogue with other voices in the program that explore structure, language, or image through diverse and complementary registers.

Guy Haddon Grant CV+BIO.pdf

The Artist’s Foot, 2026 Charcoal on Kraft Paper 122,5 x 122,5 cm

Seeds, 2026 Charcoal on Kraft Paper 122,5 x 122,5 cm

Lament, 2026 Charcoal on Kraft Paper 122,5 x 122,5 cm

Cloud, 2026 Plaster, Steel & glass 168 x 56 x 56 cm

The Little idea, 2026 Ceramic, plaster, Indian ink, steel and glass 168 x 56 x 56 cm

Roman Korovin’s painting operates within a quiet territory where form appears gradually, as if emerging from memory more than from direct observation. His works present ordinary situations: landscapes reduced to minimal horizons, small architectures and empty interiors stripped of anecdote and distilled into structures of light and space.

Working mainly in small formats and in series of diptychs and triptychs, Korovin developed his painting as a process of variation. He built sequences in which each work subtly shifts from the previous one; meaning takes shape in the interval that opens between them. Painting takes form here as a slow construction, where the motif moves and transforms over time. 

His practice belongs to a lineage in which painting operates as a system of sustained observation. In this context, each work functions as visual thinking in time. His palette, shaped by greys, muted ochres and dark greens, deepens this sense of suspension. The material presence of paint remains visible, and the brushstroke builds space gradually, as if the image were still coming into being before the viewer. Painting measures distances here: between perception and memory, between form and its fading.

Over the years, Korovin developed a coherent and deeply personal body of work. His paintings are best understood as a field of relate images, a continuous investigation into the instability of what we see. His independent and rigorous trajectory aligns with an international line of serial and post-conceptual painting, where process and the construction of a language carry primary weight.

NISO engages with his legacy from this perspective of the whole, attending to the singularity of a practice sustained by strong internal coherence — one of the most honest, quiet and personal pictorial languages of his generation.

Hitoshi Nakazato (1936 - 2010) approaches painting as a practice grounded in measure, recurrence, and equivalence. Each gesture carries weight, entering into a precise relation with material and surface. Actions are calibrated rather than expressive, allowing meaning to arise through rhythm, consistency, and exactitude.

Across his work, painting functions as a register of action. Lines, geometric forms, and repeated configurations appear as discrete units, each corresponding to a measured act within a larger system. Accumulation does not produce progression, but coexistence. Multiple moments are gathered and held together through internal order and continuity.

Repetition is central to this logic. Horizontal lines, triangular arrangements, and modular structures return persistently, preserving equivalence while allowing subtle variation. What becomes visible is the extension of a single act across the surface, and the attentiveness required to maintain coherence from one gesture to the next. A condition of presence unfolds across the pictorial plane.

Nakazato’s practice emerged during a period of profound rethinking of painting in Japan. Formed within the experimental context of the late 1960s, his early exhibitions already approached painting as an inquiry into structure, process, and perception. The painted element operates as rhythm and measure, inviting an encounter that unfolds spatially and through time spent with the work. 

The act of making remains fundamental. The working process functions as an instrument of calibration, sustaining consistency across the field of action. Rigor coexists with openness, grounded in repetition and fine adjustment. The resulting surfaces appear calm and restrained, yet carry the density of prolonged labour and

In this context, Nakasato’s work belongs to a lineage in which continuity is articulated as a structural condition. Each work gathers, measures, and holds. The work extends across the surface as a mode of thought, gesture by gesture, allowing coherence to emerge through persistence rather than resolution.

Hitoshi_Nakazato_CV_compressed.pdf

Ichinchiani Series, 1970 174.2 x 183.5 cm

Installation view of "Nakazato, Brusatin" October 2023 NISO, Paris.

Installation view of "Nakazato, Brusatin" October 2023 NISO, Paris

Born in 1996 in Tokyo, Japan, Sawako Nasu’s work resides in a space of radical subtlety.

In her painting, nothing is narrated — and yet everything remains.

She does not represent, adorn, or declare. She holds.

Like a threshold. Like a form of listening.

Her practice unfolds in the most delicate —and yet most demanding— register of gesture:

that which barely appears, yet transforms.

What seems minimal is, in truth, structure.

Sawako does not seek an image: she cultivates presence.

Her surfaces contain no focal point —and this is no accident.

She chooses familiar motifs —landscapes or portraits emptied of specificity—

not to tell a story, but to dust off its remnants.

What remains is a lucid trace. A form of care.

There is an ethic of attention in her work.

A fidelity to inner time, not to external rhythm.

Nothing asks to be looked at —and yet everything holds us.

form becomes vibration, painting becomes a quiet stance in the world.

This tension between fragility and structure, presence and disappearance,

has its roots in a long dialogue between the frame and the world — 

a reflection shaped over years of exchange with the Japanese painter Masato Kobayashi, 

and one that subtly connects her to a lineage of artists who sought not to express, but to hold space.

At NISO, the presence of Sawako Nasu brings both balance and a signal:

that painting can still be a site of radical contemplation.

A silence swept each morning, like sand around a stone. 

Sawako_Nasu_CV_BIO_compressed.pdf

Landscape n.1, 2024   120 x 170 cm   Oil on Canvas

Landscape n.2, 2024   80 x 100 cm   Oil on Canvas

Landscape n.3, 2024   56 x 74 cm   Oil on Canvas

Landscape n.4, 2024   56 x 71 cm   Oil on Canvas

Landscape n.5, 2024   56 x 71 cm   Oil on Canvas

Landscape n.6, 2024   56 x 71 cm   Oil on Canvas

Installation view of Vestige, NISO, London, September 2024.

Portrait of A Man n.1, 2024   50 x 41 cm   Oil on Canvas 

Portrait of A Man n.2, 2024   40 x 31 cm   Oil on Canvas 

Portrait of A Man n.3, 2024   40 x 31 cm   Oil on Canvas 

Portrait of A Man n.4, 2024   40 x 31 cm   Oil on Canvas 

Portrait of A Man n.5, 2024   40 x 31 cm   Oil on Canvas 

Portrait of A Man n.6, 2024   40 x 31 cm   Oil on Canvas 

Portrait of A Man n.7, 2024   40 x 31 cm   Oil on Canvas 

Mateo Revillo (Spain, 1993) lives and works in Paris. His practice moves between painting, sculpture, and architectural intervention, and is grounded in an investigation of latent structures—forms assembled and held in suspension, where material, time, and spatial logic remain active.

Revillo works primarily with elemental materials such as lime, plaster, and pigment. These materials are engaged through a process-based approach in which surfaces accumulate, shift, and retain duration. The works appear as open configurations—fragments, planes, and volumes that register time as a physical condition. What becomes visible is a threshold where form remains provisional.

Each work is shaped by a tension between structure and fracture, construction and erosion. This tension extends to colour, which operates as a structural agent. Colour generates density, temperature, and vibration, anchoring the work in material time. It is revealed through process, attaching itself to layers, folds, and resistances embedded in the surface.

Revillo’s practice follows an open logic of transformation. Works often undergo successive stages: layers are added, elements displaced, decisions revised. What appears resolved may reopen; what once functioned as form may persist as trace. The work remains in a state of becoming, where persistence and instability coexist.

Although his work does not adopt explicit political representation, it operates through internal structural tension. Architectural references, material decisions, and visual codes acquire critical force through their capacity to suspend meaning and displace habitual forms of perception. In this sense, Revillo’s practice resonates with a conceptual and post-minimalist sensibility, where critique emerges from within form itself.

This form is put into tension by subjecting it to different perspectives and ways of seeing: architecture, anthropology, biology, and an open-ended curiosity that informs the work’s internal logic. Each piece operates as embodied thought, where material decisions function as spatial and cognitive propositions. The work proposes modes of attention and systems of relation that take shape through process.

Within the context of NISO’s programme, Revillo contributes a distinct analytical clarity. His practice approaches painting as structural inquiry; gesture is measured, the support fragmented, and the surface treated as an architectural plane of perception. Each work operates as a formal hypothesis—a site where material logic, spatial thinking, and perception remain in active relation.

Mateo_Revillo_BIO+CV_compressed.pdf

Tentación, V. , 2026 Beeswax on Cement, Plaster 330 x 180 cm

Liebana’s Bat, 2026 Beeswax on Cement, Plaster 300 x 120 cm

Dardo, 2026 Beeswax on Cement, Plaster 160 x 700 cm

U-Wing, 2026 Beeswax on Cement, Plaster 200 x 200 cm 

Teatro, 2024 Encaustic and casein paint on cement and plasterboard, wood.

Glauco Series, 2023 Fondo, Galería Alzueta, Barcelona, October 2023.

Ave - Políptico, 2022 Encaustic on cement and plaster, wood 250 x 250 cm 

Köln 2017, 2024 Encaustic on casein, cement and plaster, wood 120 x 270 cm Straight, No Chaser, curated by La Méditerranée, Zuzeum, Riga, 2024

Monument of Peace and Prosperity, 2025 Beeswax, Cement and Plaster 45 x 225 cm 

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

Amanda Ziemele (Latvia, 1990) lives and works in Riga. Her practice unfolds in a territory between painting and material reflection, where each surface acts as a field of experimentation, and each form as a visual hypothesis. More than representing, Ziemele summons sensitive structures: she organizes tensions, activates relationships, and formulates formal questions through the language of painting itself.

In her work, matter is active—almost behavioral. Edges become vectors, textures hold memory, and gestures repeat like formulas that resist closure. Color is not applied; it becomes a vibrating field, an atmosphere of pulsation between chromatic intensity and formal restraint. Nothing in her work arises from accumulation: everything responds to an intimate logic of playful precision. 

Ziemele operates through an expanded visual grammar that draws from modern abstraction, design, and certain ornamental or constructive logics, while also incorporating a physical perception of space and an expressive restraint bordering on the meditative. Her compositions seem to allude to encrypted codes, non-linguistic alphabets, emotional geometries that organize the pictorial plane without the need to explain it. These works do not impose themselves: they wait to be read, like rhythms still awaiting recognition. 

Her relationship with painting is neither retinal nor gestural in the traditional sense. Instead, it continuously questions how to see, how to organize, how to think the visual as an active system. The pictorial plane functions as a site for tactical decisions—where each form, each direction, each pause involves a negotiation between intuition and construction.

Far from any grandiloquence, her work moves with radical sobriety. A sobriety that does not exclude play, but refines it. That does not reject enjoyment, but makes it dependent on the intelligence of relationships. Her paintings, though contained, are structures open to accident, to deviation, to the inner rhythm born from proximity between dissonant elements.

Amanda Ziemele represented Latvian Pavilion in the Arsenale O day and night, but this is wondrous strange and therefore as a stranger give it a welcome at the 60th Venice Biennale (2024). Amanda Ziemele is a recipient of the Purvītis Prize 2021 granted for her solo exhibition Quantum Hair Implants on view in the Great Hall of the Latvian National Museum of Art in Riga. As part of the Prize, she developed the solo show Sun Has Teeth (2023) at the Cupola Hall of the Latvian National Museum of Art. 

Since 2016, Ziemele has held several solo exhibitions and has been engaged in various collaborative projects as well as actively participated in exhibitions including Duo Show (Ana Gzirishvili, Amanda Ziemele) at Polina Berlin Gallery, New York (2023), From “Abstraction” to Abstraction at Fundacja Stefana Gierowskiego, Warsaw (2022), Lazybones at Natalia Hug Gallery, Cologne (2021), Riga Notebook. Following the Lines of Wacław Szpakowski, Muzeum Sztuki, Łódź, Poland, (2021), Quantum Hair Implants at Kim? Contemporary Art Centre, Riga (2019) Being Like a Sponge, Candyland Gallery, Stockholm (2018), Crocodile Dilemma, 427 gallery, Riga (2016), among others. 

Amanda’s work can be found in several collections in Latvia and abroad, including the Latvian National Museum of Art, the VV Foundation and the Zuzāns Collection, Rīga.

Amanda_Ziemele_CV_compressed.pdf

Funnel, 2024 Oil on Canvas 234 x 170 x 60 cm Photography: Liga Spunde

Double Crisp, 2024 Oil on Canvas 260 x 206cm 

Close Your Eyes, 2024 Oil on Canvas 220 x 413 x 120cm Photography: Liga Spunde

Cool as a Cucumber, 2024 Oil on Canvas 261 x 365cm Photography: Liga Spunde

Morning, Sunshine!(Pottering Along), 2024 Oil on Canvas 377 x 651 x 122cm Photography: Liga Spunde

Installation view of O day and night, but this is wondrous strange...and therefore as a stranger give it welcome, 60th Venice Biennale, Latvian Pavillion, April 2024. Photography: Liga Spunde

NISO

NISO

Artists

Daniel Brusatin

Daniel Brusatin

Guy Haddon Grant

Guy Haddon Grant

Roman Korovin

Roman Korovin

Hitoshi Nakazato

Hitoshi Nakazato

Sawako Nasu

Sawako Nasu

Mateo Revillo

Mateo Revillo

Max Wechsler

Max Wechsler

Amanda Ziemele

Amanda Ziemele