Born in Colombia to an Italian family of agronomists and architects, Daniel Brusatin grew up very close to nature and was exposed from a very young age to the arts and design. He trained in The Academy of Fine Art in Florence with an emphasis in sculpture. His love for materials and production techniques took him to Milano to a second degree in design and applied arts. During his studies and at his arrival in London Brusatin worked for Brian Clarke where his love for stained glass, Ceramics and architectural art found mentorship.Always with a strong artistic practice his studio has moved from Florence and Milan to Paris and since 2013 is based in London.

Even though Daniel Brusatin’ work comprises diverse artistic disciplines: Sculpture, drawing, ceramics, stained glass and architecture; he has always kept painting as the central axis of his practice. it is throughout the relationship and conversation between these mediums that his work starts to shape up. Exploring visual language through semiotics, art history, traditional techniques and the act of making, Brusatin attempts to blur the arbitrary lines dividing the arts and encourages questions of fundamental phenomena as the relationship between the perpetual forces of nature and the hand of the artist, the curious case of ‘accidentality’ in a chaotically organized world and the role art plays in civilisation. 

Formally and Conceptually his work anchors the contemporary world in tradition, art history and the psychology of engagement creating a dialectic between materials and artistic expressions that serve as a catalyst to this visual poetry; based upon the idea that “beauty is not a characteristic linked to any particular thing but a state of understanding” Brusatin looks for common denominators, triggers, and expressions of primal relatability. Subjects often treated in his work are the relationship between abstract and figurative art, the conception of the work and the creation of an image in an era of careless mass-production and the importance of the artistic experience; the present and emotional engagement between the work and the viewer. 

Turning the subject matter into art itself this lines are dissolved and their effect multiplied. For Brusatin to define is to limit and a practice in constant revision and experimentation becomes the only path to evolve the artistic language

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, 1988) 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.

Hitoshi Nakazato (1936-2010) was particularly active in the field of printmaking in the 1960s. He studied at the prestigious Tama University of the Arts in Tokyo in 1960, went to the United States in 1962 to continue his studies at the University of Wisconsin and at the University of Pennsylvania where, under the tutelage of Piero Dorazio, he drew inspiration from printmaking techniques and systems engineering to pursue abstract painting. “Why paint? “What would a painting that rejected conventional concepts of painting look like?”. Nakazato had “a burning desire to paint” but “no interest in pictorial conventions”.

He sought to redefine the act of making by introducing into the painting process elements that were born of Japanese industry and architecture and were essential to them, such as the sumitsubo, a Japanese line marking tool. His characteristic monochromatic works of 1968-1971 are composed entirely of straight lines and were the starting point for the development of his practice. The use of colour “beyond the lines” would make a “comeback” in the mid-1970s.

This brought him international institutional recognition. Edward F. Fry, co-curator of the exhibition Contemporary Japanese Art: 5th Japan Art Festival in 1971 at the Solomon R. Guggenheim, recounted: “I knew immediately that I was in the presence of an extremely gifted artist of unique talent: someone who, with the slightest stroke on the canvas, seemingly without effort, could give birth to a sonorous polyphony of visual intensity and pure feeling”.

Hitoshi_Nakazato_CV.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

Martina Quesada (Buenos Aires, 1987) lives and works in Paris. Her practice operates at the edge of consciousness, where perception, substance, and symbolic form converge in a rigorous investigations that spans sculpture, installation, and video. 

Her work, anchored in material presence yet resistant to interpretation, takes shape at the intersection of geometry, spirituality, and sensibility. While her pieces contain no narrative, they follow a vital internal order: a system of minimal signals, pigments that seem to breathe, and structures that evoke the sacred without appealing to dogma. 

Quesada's exhibitions are not collections of isolated works, but coherent, interdependent bodies. She installs, fragments, repeats, ritualizes. Each piece activates the next; each installation is conceived as a sensitive architecture, where curatorial thought and artistic gesture merge to intensify the work's resonance. 

Throughout her career, Quesada has systematically challenged inherited visual systems and the cultural mechanisms that shape meaning. Her work asserts the irreducible tension between what is visible and what remains hidden, opening up a space for perception that resists function, narrative, and habit. Her work is included in both public and private collections, among them the Museum of Contemporary Art of Buenos Aires (MACBA) and the Museum of Art of Lima (MALI).

Martina Quesada's work is relevant to the gallery's program as it represents an essential dimension of contemporary art: that which opens without explaining or concluding. Her work does not seek answers; it is a question—formulated with rigor, living substance, and attentive devotion. 

Martina_Quesada_CV.pdf

Lectura de una aparición y una huída, 2022 Pigment, paper, glass and wood 40 x 340 cm 

The borders are fragile II, 2023 Pigment, gesso, marble dust, Argentinian native plants, wood on canvas 142 x 217 x 4 cm 

The Exit Shut Opened, 2025 Pigment on paper, glass and wood 175 x 238 cm

If you must, you must, 2025 Pigment on paper, glass and wood 65 x 45 cm

We left just in time, 2025 Pigment, acrylic medium, canvas, wood 75 x 50 cm

Without a second thought, 2025 Linen, mixed media structure, wood 30 x 30 cm

The wind picked up the dust XVI, 2025 Pigment on paper mounted on acrylic tray 50 x 37 cm

The wind picked up the dust V, 2025 Pigment on paper mounted on acrylic tray 50 x 37 cm

Mateo Revillo (Spain, 1993) is an artist who lives and works in Paris. His practice revolves around a central notion: that of latent structures inscribed in an assemblage suspended in time.

There they are, fully visible—fragments, open forms, surfaces that seem to contain duration. This initial materiality leads us directly into his practice, situated between painting, sculpture, and architectural intervention. Revillo works with elemental materials—lime, plaster, pigment—combined with a scenographic sensitivity that, while not visibly tied to any specific style, resonates with deep echoes from various artistic traditions, both past and present, including the Spanish one.

Upon closer observation, each piece reveals itself as a threshold—like the vestige of a future ruin or the remnant of a ceremony yet to occur. A constant tension emerges between structure and fragment, between architecture and fracture, between what has disappeared, what remains open, what lingers suspended in transformation. This same tension is reflected in the way color inhabits the surfaces of his work.

Color in his work does not function as ornament, but as a structural agent. It generates a dense, physical atmosphere—a field of emotion that adds temperature, vibration, and depth. It is not applied; it is revealed. Revillo’s chromatic choices seek density rather than harmony. Color is embodied in matter, attaching itself to the folds of time contained in each surface, intensifying the temporal dimension of the whole.

And it is precisely within this temporality that the constructive core of his work takes shape: a composition of fragments where the unfinished, the open, and the persistent coexist. His forms do not illustrate; they pulse. The material does not represent; it resonates. Everything seems to exist in a state of ongoing transformation or emerging memory.

This logic of instability translates into a will to narrate through interruption. The images he constructs contain layers, folds, and voids that operate as ways of thinking about time and history. Each piece speaks from the present with the voice of something not yet articulated—though that voice rarely settles into fixed form.

Many of his works undergo successive processes of transformation. He adds layers, introduces contradictions, displaces elements. What appears closed today may reopen tomorrow. What was once form dissolves; what presented itself as image becomes trace. There is no final version. What matters is not the result but the journey. His practice rests on a deep belief in change, in increasing complexity, in the possibility of being multiple.

Revillo’s work is not directly or explicitly aligned with the tradition of political or socially critical art in the classic sense. Yet that does not mean it lacks a critical dimension. His work tends to operate from a subtler place—often formal or affective—where the political may surface as resonance, as internal tension between language, matter, and image.

He moves within a field of exploration in which systems of representation, visual codes, and gestures that may seem neutral or formal acquire a critical charge precisely through their ability to destabilize norms, to displace meaning or suspend it. In this sense, we could speak of a micropolitics of form or a structural critique, more aligned with a conceptual and post-minimalist sensitivity than with overt denunciation.

That same critical and experimental attitude drives his expansion into other domains of knowledge. Driven by insatiable curiosity, Revillo has spent years establishing connections between art, architecture, anthropology, and memory. His background in social sciences reinforces this transversal gaze, where each work functions as embodied, culturally active thought.

Rather than delivering a message, his work proposes ways of doing, forms of attention, tactical decisions, and intuitions that do not follow a preordained plan but instead unfold through a material, concrete, and risk-laden internal logic. Color, form, and gesture do not act in isolation, but as parts of a will that is not discursive, but physical.

This will does not exclude use, but it rejects the imposition of function. Revillo does not pursue utility as a mandate. His practice does not respond to an external purpose. It has use, but not imposed function. He inherits an architectural sensibility and an anthropological perspective. He builds like someone who listens; he invents like someone who excavates. Each space—like each work—activates its own rules. Norms, then, are not erased but reorganized. From this reorganization arises a fertile ambiguity, where the formal, the poetic, and the intimate intersect without hierarchy.

From this position, Revillo reserves the right not to say everything. He allows things to simply be. To speak for themselves. And in doing so, he resists the tyranny of the message through the power of a form still in the process of becoming.

Mateo_Revillo_BIO+CV_compressed.pdf

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

Sawako Nasu (Tokyo, b. 1998) lives and works in Tokyo, Japan. The artist holds a BFA and MFA from the Tokyo University of Arts. Solo exhibitions include: Sunny, Rainy at Biscuit Gallery, Tokyo, Japan (2023); Slipped Moonlight, Ginza Tsutaya Books, Tokyo, Japan (2022); To the Lighthouse, myheirloom, Tokyo, Japan (2022). Recent group exhibitions include: Biscuit Gallery 3rd Anniversary Exhibition「grid3」, Biscuit Gallery, Tokyo (2024); Inaugural Group Exhibition, NISO, London (2024);「Selection」, KEN NAKAHASHI, Tokyo, Japan (2024); Draw Lines & Shapes in My Maps, Taka Ishii Gallery Maebashi, Maebashi, Japan (2023).

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 

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.

Untitled, 1998 Collaged paper on Wood 182 x 160 cm 

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

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

Double Crisp, 2024 Oil on Canvas 260 x 206cm 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

Hitoshi Nakazato

Hitoshi Nakazato

Martina Quesada

Martina Quesada

Mateo Revillo

Mateo Revillo

Sawako Nasu

Sawako Nasu

Max Wechsler

Max Wechsler

Amanda Ziemele

Amanda Ziemele