The Contemporary Art Modern Project (CAMP Gallery) presents 'The Eye, The Lens, The Story' July 11-August 23, 2025

'The Eye, The Lens, The Story' on view at The Contemporary Art Modern Project (CAMP Gallery) July 11 - August 23, 2025. The Eye, The Lens, The Story is the gallery's first all photography based exhibition featuring works from: Xan Padron, Marisa S. White, Naomi White, Remijin Camping, Natalie  Obermaier, Rosana Machado Rodriguez, Alice de Kruijs, and Carol Erb. 

The exhibition focuses  on what has caught the eye of these artists. Divided by subject the exhibition will look at  landscape and architectural photography, portraiture and objects while focusing on the moment  of the image and what it can suggest. The eye of the photographer is, naturally, paramount to  the art of photography. The artist strives to capture what is unique, but also familiar often  reporting back to the viewer where we are in the present. 

The Contemporary Modern Art Project (CAMP Gallery) presents 'Postcards From The Artist' running through June 27th

 

The Contemporary Art Modern Project (CAMP Gallery) announces its May exhibition: Postcards from The Artist with a group exhibition featuring works from: Milton Bowens, Laetitia Adam and Oluwatomisin Olabode. Each of these artists creates work explaining their journeys through life and the art world brimming with lived experience, ancestral and historical experiences inherited. The history of an individual is deeply connected to the stories passed down, the experiences encountered and witnessed and the interpreter of all of the above. Identity is a condition constantly influx, due to not just the external world and its ever revolving revolt of both history and perception, but also due to time, and the experiences that come with time. The optimistic child full of imagination and dreams can often become the bogged down adult witnessing not only the loss of innocence in imagination, but also the burden of an imposed identity. What is left is a quagmire of opinions, voices, disagreements, all swarming to remove the identity one lives, the history one lives. Responding to this, these artists lay before the viewer both history lived and inherited, as evidence of how that history, that postcard from the moment effects the artist and becomes the inspiration behind the work. This exhibition is on view May 23 - June 27, 2025.

Laetitia Adam-Rabel.
Milk Bath (2024)
Polymer clay, synthetic hair, plaster,
gold leaf, and acrylic paint. 11 x 3 x 4 in.

Milton Bowens is an artist and a preservationist of both the history and the present of African Americans. Often using paraphernalia from archives of American history he reminds the viewer, informs the viewer of the treatment, history and experience of people enslaved in the U.S. His focus looks at the beginnings and explores how they still effect the present. Laetitia Adam Rabel exposes her reality as a woman in America, and how her race and ancestry mark her, and give her the ability to navigate, as best as she can, the labyrinth that is modern society. Deeply feminine her works bring forth and shine on her experiences with her life, her body and her artistic voice. Oluwatomisin Olabode based in Lagos, often toys with ideas of the grotesque, not only in his artistic voice, but also in his subject matter. Over stylized subjects confront the viewer usually in a one dimensional depiction, suggesting that the social eye can only perceive what is on the surface.

Oluwatomisin Olabode.
Code of Identity 2 (2025)
Acrylic on Canvas
60 x 38 in.

The art world is overflowing with rules and ideas of what is art, often from the perspective of the financial, which typically results in trends on what is unique, new, and catchy. Naturally this is fine, but it can overlook artists responding from an internal that cannot be limited or ignored by ‘market demand.’ Artists as the above make works that resonate with a myriad of shared aspects of the human condition - where the exact depictions may be different, they all do speak on being human with both lived and inherited history and how we all carry that weight.

Milton Bowens
Boyz N The Hood BFM (2025)
Mixed Media on Canvas
14 x 11 in.

The Contemporary Art Modern Project (CAMP Gallery) is located at 791-793 NE 125th Street in North Miami, FL 33161. The gallery is open Tuesday–Saturday, from 11 AM to 5 PM. Private tours can be scheduled by emailing hello@thecampgallery.com or calling 786-953-8807.

TONIGHT! New Exhibitions Opening at Mindy Solomon Gallery Friday, May 16th!

 

TONIGHT! New Exhibitions Opening Friday, May 16!

Osamu Kobayashi: Jungle Politics

May 16 – July 13, 2025

Opening May 16, 6-8:30pm

— Osamu Kobayashi, Jungle Politics I, 2025, Oil on canvas, 48" x 50" (121.92 x 127 cm)

"You have power over your mind - not outside events. Realize this, and you will find strength." - Marcus Aurelius, Meditations Mindy Solomon Gallery is pleased to present Jungle Politics, Kobayashi's fourth exhibition with the gallery since his representation began in 2013. A fastidious painter with a unique style that includes meticulous brush work, Kobayashi continues to investigate a common leit motif for this exhibition. "Eyes are a recurring theme in my work. The paintings in this show are all looking clockwise around the room and at each other. A standoff ensues where each painting is waiting on the movement of the one beside it to decide their own direction. However, this moment of tension is one of reservation: an awareness of the other while contemplating the self. It's neither instigative nor passive, but rather it's outward looking as well as inward." Introspection and self-reflection permeate the paintings in this series. Shown as two separate groupings, one 48" x 50" in scale, the other 16" x 18", each painting appears to radiate out from the center "eye". Soft vibrational colors applied in a circular fashion that emphasize the center of each painting, like a spiritual mandala. Vibrant oranges, hazy greens, floating blues; each image is a transcendental experience into an unknown realm while the all-knowing eye watches. With this newest exhibition, Kobayashi continues to prove why he is one of the most significant abstract painters of his generation. With gentle persistence he continues to pursue truth through brush mark.

PRICELIST PDF MORE INFO

Eduardo Cardozo: Primero fue el gesto (First was the gesture)

May 16 – July 13, 2025

Opening May 16, 6-8:30pm

— Eduardo Cardozo, Formas, 2009, Oil and acrylic on canvas, 43.7" x 37.4"

Mindy Solomon is pleased to present a collaborative exhibition with AppArt Paris to showcase Uruguayan artist and 2025 Venice Biennale representative Eduardo Cardozo. For his first solo show in Miami, Cardozo will feature seminal works from 2009-2024. Crafting works that speak to art history, materiality and time, Cardozo brings a warmth and subtlety to his surfaces. Whether it is a large-scale canvas that breathes through an unprimed surface of warm tones and soft saturated colors, or a textile work remade from scraps of canvas, each piece is a fragment of time. In works such as Péndulo, 2009 Cardozo creates a sense of delicately floating objects leaving a distinct slick or residue as they move through space. Gentle wisps of line tether form and leave the viewer entranced with the nebulous nature of the image. Íntimo, 2021 is a small work but extremely impactful. Utilizing his signature style of oil on layered canvas, he creates a work that is reminiscent of his studio walls and the plaster surfaces of historic old master paintings. In his magnificent presentation at the Venice Biennale, Cardozo created a space of contemplation in a sea of deeply political and challenging pavilions. Drawing reference to Old Master Tintoretto, he created a project called Latent, an immersive installation that seeks to create a relational act between two painters at a distance: the Uruguayan Cardozo and the Venetian Tintoretto. This dialogue consists of three moments: the nude, the wall of Cardozo's studio, transferred to Venice using the stacco technique; the vestment, an interpretation that the Uruguayan artist makes of one of the sketches of Tintoretto's Paradise; and the veil, a cloth sewn from the scraps of gauze used to move the walls of the studio. This generates a counterpoint between Uruguay and Italy, south and north, between Cardozo's work and his reinterpretation of Tintoretto's painting. Cardozo is focused on the notion of "meticulous reflection" regarding material resources and the challenges of creating a painting that reflects a representation of "mental space". His imagery is informed by the modernist works of Paul Klee, Francis Picabia, Wassily Kandinsky, and Hans Arp. The series of works selected correspond to this research. Throughout the exhibition, the pictorial space is marked by the tempo of manual techniques to which the slow and shaky gesture of the brushstroke and the frequent voids and interruptions of the visual discourse can be seen and experienced. In this space Cardozo shares the process of creation with all of us.

PRICELIST PDF MORE INFO

Ricardo Alcaide: Brightest Light

May 16 – July 13, 2025

Opening May 16, 6-8:30pm

— Sunset-Sun, 2025, mdf and industrial lacquer, 26.25" x 26.25" x 3"

Mindy Solomon is pleased to present Venezuelan born; Antwerp based artist Ricardo Alcaide in his first solo exhibition in the gallery. There is a quiet tension in Ricardo Alcaide's work—an insistence that what we often overlook has weight, memory, and meaning. In Brightest Light, he presents a new body of work that distills years of lived experience into a material language that is both ordered and unruly. Alcaide's compositions begin with the logic of construction: bars of aluminum or MDF, aligned with near-clinical precision, marked by repetition and control. But he never lets them settle. Paint spills beyond the lines, edges are scuffed or left raw, and bricks are inserted where they can't perform their function. In works such as Silence and Visible, the works appear sharp and clean from the front, even minimalist. But take a step to the side, and their skin peels back. Imperfection reveals itself as a method. Mess becomes the message. For the first time, Alcaide turns to aluminum—a reflective, industrial material he had long resisted. In these new wall-mounted reliefs, the aluminum's smoothness contrasts sharply with the rawness of embedded bricks and the rough brushwork along the edges. These aren't just aesthetic choices but acts of resistance: against polish, against pretense. If the surface remains smooth, it does so, bearing inner scars. In one of his recent works, Alcaide found himself unexpectedly echoing Venezuelan modernist Alejandro Otero. Like Otero's Color hythm series, his vertical compositions pulse with rhythm and modularity. But what Otero sought in purity and optical harmony, Alcaide interrupts with bricks and intentional sloppiness. His is not a celebration of order but a slow unraveling of it. What stays is tactile and restless, a structure marked by the evidence of its own making. The brick, recurring throughout the exhibition, first entered Alcaide's vocabulary while living in São Paulo. There, he encountered bricks everywhere throughout his walks in the mega-metropolis—stacked on sidewalks, tucked into windows, and left abandoned on street corners. To him, they became a symbol of the city's informal architecture, its unfinished edges, and its capacity to hold weight without fanfare. Alongside MDF—a material he came to know intimately while working as a handyman in London—the brick embodies Alcaide's ongoing commitment to what is often dismissed or covered up. Both are materials that usually live behind the wall. Here, he gives them visibility—foregrounding their presence rather than concealing it. In this, Alcaide's impulse recalls Hélio Oiticica's embrace of the marginal as a social position and a creative force. The use of brick, MDF, and other industrial materials is not simply to represent the everyday but to create from it.[1] Despite the material heft of aluminum and brick, lightness permeates the exhibition—conceptually and chromatically. The show's title and orientation take inspiration from the sun, light, and Alcaide's emotional response to Miami's brightness. A sequence Alcaide calls his "rainbow of chaos" derived from a graffiti he once saw in downtown Miami that read, "We live in the rainbow of chaos." These personalized rainbows evoke joy and spiritual charge layered over the grid's rigidity. At once intuitive and formal, this palette reflects Alcaide's desire to channel sensation through geometry—translating emotional landscapes into structural terms. Taken together, the works in Brightest Light offer a sensorially rich meditation on what lies beneath appearances. If modernism once promised clarity through order, Alcaide answers with aesthetic friction—embracing the residue, the error, the humble. His practice evokes what curator Mari Carmen Ramírez called the 'fractured utopias' of Latin American modernity, where formal purity often collided with the social realities it sought to transcend. [2] Yet Alcaide's work is not a didactic language—but one of intuition, memory, and personal reinvention. Having lived between Venezuela, Brazil, the UK, and now Belgium, his work remains rooted in displacement, reassembled through a careful choreography of material, memory, and mark making. In Miami, it comes full circle—an encounter with light again. Written by Jennifer Inacio, Curator, Pérez Art Museum Miami — [1] Hélio Oiticica, "Appearance of the Super-Sensorial," in Hélio Oiticica, ed. Guy Brett (Lon- don: Tate Publishing, 2007), pp. 114–118. [2] Mari Carmen Ramírez, "Blueprint Circuits: Conceptual Art and Politics in Latin America," in Global Conceptualism: Points of Origin, 1950s–1980s, ed. Luis Camnitzer, Jane Farver, and Rachel Weiss (Queens Museum of Art, 1999), pp. 54–61.

PRICELIST PDF MORE INFO

Sensory Saturday at The Frank on April 12th from 9-11am

The Contemporary Art Modern Project (CAMP) is pleased to present ‘Julie Peppito Chooses Hope’, a solo exhibition by Brooklyn-based artist Julie Peppito, Opening April 11th

 

The Contemporary Art Modern Project (CAMP) is pleased to present Julie Peppito Chooses Hope, a solo exhibition by Brooklyn-based artist Julie Peppito, with an Opening Reception on Friday, April 11th from 6 – 9pm. This event is free and open to the public, RSVP HERE. Julie Peppito Chooses Hope offers a roadmap for navigating chaos through layered compositions of fiber, paint, and found objects. Exploring the tension between expectation and reality, Peppito transforms everyday materials into intricate works that embrace movement, ambiguity, and growth. The exhibition invites viewers to step beyond uncertainty and into possibility—where hope is both a choice and an ever-expanding horizon. The exhibition is on view April 11 – May 10, 2025.

Holding Pattern, 2021. Reclaimed textiles, beads, thread, gouache,
acrylic, fabric paint, thread, canvas. 36 x 48 x 4 in.

For over 30 years, Peppito has transformed cultural waste into sculptures, tapestries, and installations that explore connection, environmental repair, and the human condition. She holds an MFA from Alfred University and a BFA from The Cooper Union. Her work has been exhibited at institutions including Kentler International Drawing Space, The Brooklyn Botanic Garden, and The Sugar Hill Children’s Museum. Her work has also been featured in The New York Times, on CBS Sunday Morning, and NY1. She has created public art for parks across Brooklyn.

The solo exhibition, Julie Peppito Chooses Hope, suggests a guide on how to navigate life through mixed mediums of fiber, paint, found objects and her own innate belief in preserving the positive. Peppito tackles the daily distractions of life by creating multilayered works exploring where she is in the present as a means of establishing order in a life that is chaotic. Chaos can be found in any segment of life where reality clashes with self imposed expectations, where time flies uncontrollably out of ones’s grasp, and much more. Peeling back life as we cross the social landscape, Peppito responds to the world she inhabits by offering hope. Coming into her own in an ever changing art world and practice, Peppito spends a great deal of time with not only the work that evolves, often from one object, but also with her thoughts on the piece. Her thoughts can travel through the everyday and mundane, through her own life, and through the climate she encounters. This multifaceted looking around her is clearly seen in works such as; Growth 1 & 2 (2025). The works offer the concept of growth in many ways. For example, it can be seen as two unequal stages of growth, two direction for growth—or a limit to growth because of the different sizes. But in both there lies hope, simply because the works are bordered by a literal blank canvas, thereby giving one the freedom to move out of the work and into a new stage.

Growth 1 & 2, 2024. Reclaimed objects and fiber, embroidery
floss, string, canvas, acrylic paint. 34 x 38 x 4 in.

Peppito often creates a tableaux both overflowing with action and thought, but also one open and dependent on interpretation. Dividing for example, Holding Pattern (2025) into two sections, one is able to skip through the left portion only to attentively explore the right side. The piece is divided by color, historical references, the artist, and elements of culture. Once you travel through the labyrinths Peppito creates, you may enter into the unformed, the unknown. The work holds an intentionally ambiguous landscape, one with a shadowy figure lurking in the window, an empty chair, and less—but even through this almost ‘void,’ Peppito places her bird, a muse, a symbol of the imagination—fully formed, fully identifiable—showing that come what may, there is always hope and some things can never be erased. This is the key in Peppito’s philosophy —there is always hope, and we can all work towards the beautiful tomorrow of our imagination.

In all of Peppito’s work one can witness her artistic practice as her search for materials rises from both conscious choices to something that catches her eye. This ‘eye-catching’ object is usually the idea of a work in its moment of becoming, akin to an unconscious stage, but as more than one idea holds space in anyone’s mind—new ideas often come hurdling towards her, calling her to listen to the ideas, and thus one idea evolves into many. These ‘many’ are then masterfully composed by Peppito to tell the story that she wishes to tell, as well as to listen to the stories that come from her works when viewed. Her work stands on the precipice of optimism forever leaning towards hope. The hope lies in the future, what she likes to envision for a ‘beautiful tomorrow,’ and the hope that her work stimulates, awakens and leads into conversations and connections bound in the hope for caring connections amongst all. –Statement and curation by Melanie Prapopoulos, gallery founder and director.

The CAMP Gallery 791-793 NE 125th Street in North Miami, Florida 33161

Art lovers and collectors are cordially invited to The Contemporary Art Modern Project (CAMP) for the Opening Reception of Julie Peppito Chooses Hope, a solo exhibition by Brooklyn-based artist Julie Peppito, on Friday, April 11th from 6 – 9pm. The exhibition is on view April 11 – May 10, 2025. The CAMP Gallery is located at 791-793 NE 125th Street in North Miami, Florida 33161. The CAMP Gallery is open Tuesday–Saturday, from 11am to 5pm. Private tours can be scheduled by emailing hello@thecampgallery.com or calling 786-953-8807. For more information contact Maria Gabriela Di Giammarco, Assistant Director of The Contemporary Art Modern Project, email: maria@thecampgallery.com

Visit www.thecampgallery.com
Follow The CAMP Gallery on Instagram @thecampgallery

Must-See Exhibitions at The Frank Gallery in Pembroke Pines! Guests will experience a compelling exploration of memory, perception, and the vanishing horizons of South Florida.

 

The Frank C. Ortis Art Gallery in Pembroke Pines presents two new art exhibitions running from March 13 – June 7, 2025. ‘Adventum Floridana: Witnessing the Layers of a Vanishing Horizon’, a solo exhibition by Andrés Cabrera-Garcia curated by Sophie Bonet, examining the fragile beauty of South Florida’s landscapes in a state of flux, offering viewers an opportunity to engage with the region’s shifting horizons through Cabrera-Garcia’s compelling works. And ‘Of Seeing and Being’, featuring works by Deering Estate Artists-in-Residence Giannina Dwin and Tony Fernandez, who explore themes of presence, absence, and the interplay between the visible and hidden. Curated by Liliam Dominguez, Head Curator and Museum and Collections Manager at Deering Estate.

Andrés Cabrera-Garcia

Cabrera-Garcia’s practice captures the tensions between nature and human intervention, translating ephemeral moments of light, texture, and urban transformation into dynamic visual narratives. His expressive brushstrokes evoke the sensory experience of South Florida—dense humidity, fading light, and the ever-present hum of development—immersing viewers in the visceral realities of a landscape in transition. Central to the exhibition is a monumental polyptych, a “Platonic Ridge,” embodying the fragmentation and cohesion of South Florida’s evolving terrain. Complemented by an array of found objects and construction debris, the gallery becomes an archaeological site, immersing visitors in the dual forces of destruction and renewal.

Andrés Cabrera-Garcia

Cabrera-Garcia’s practice captures the tensions between nature and human intervention, translating ephemeral moments of light, texture, and urban transformation into dynamic visual narratives. His expressive brushstrokes evoke the sensory experience of South Florida—dense humidity, fading light, and the ever-present hum of development—immersing viewers in the visceral realities of a landscape in transition. Central to the exhibition is a monumental polyptych, a “Platonic Ridge,” embodying the fragmentation and cohesion of South Florida’s evolving terrain. Complemented by an array of found objects and construction debris, the gallery becomes an archaeological site, immersing visitors in the dual forces of destruction and renewal.

Andrés Cabrera-Garcia

Curator Sophie Bonet approaches Adventum Floridana through the lens of Maurice Merleau-Ponty’s phenomenology, emphasizing the active, embodied nature of perception. “This exhibition is not just about observing Cabrera-Garcia’s work,” Bonet explains. “It is about experiencing these landscapes as extensions of ourselves—an entanglement of memory, materiality, and transformation.” The result is an exhibition that challenges viewers to witness and reflect upon the tenuous beauty of South Florida’s environment and its precarious future. Cabrera-Garcia’s works are not merely representations but invitations to participate in the ongoing dialogue between nature and humanity.

Giannina Dwin (2025), Untitled, Salt Installation, dimensions variable

The Deering Estate, in collaboration with The Frank C. Ortis Art Gallery, is proud to present Of Seeing and Being, an evocative exhibition featuring works by Deering Estate Artists-in-Residence Giannina Dwin and Tony Fernandez. curated by Liliam Dominguez, Head Curator and Museum and Collections Manager at Deering Estate. This exhibition is part of the Deering Estate at The Frank program, a partnership that brings Deering Estate Artists-in-Residence to new audiences by showcasing their work in dynamic, collaborative venues beyond the Estate.

Tony Fernandez (2024), Large Black Mangrove, pigment ink-print on aluminum printmount, 36″ x 54″

Of Seeing and Being delves into profound questions of presence, absence, and the interplay between the visible and the hidden. Drawing inspiration from Martin Heidegger’s concepts of Dasein (“Being there”) and Poiesis (the creative act of bringing forth Being), the exhibition offers a thought-provoking exploration of identity, temporality, and the human relationship with the environment. Giannina Dwin’s practice incorporates ephemeral materials such as salt to symbolize the delicate balance between durability and impermanence. Her sculptures, inspired by mangrove roots and seeds, and her depictions of the female form in ceramic works evoke themes of memory, transformation, and resistance.

Tony Fernandez’s photographic abstractions present a poetic and cinematic interpretation of the Deering Estate’s natural landscapes. His depictions of mangroves and banyan roots transcend mere documentation, blurring the line between the seen and unseen, and inviting viewers to engage deeply with their surroundings. Complementing the exhibition are two short films created by fellow Deering Estate Artist-in-Residence Jorge Gonzalez Graupera, offering a unique lens into the practices of Dwin and Fernandez.

‘Penumbra Brew Quartet‘, an exhibition featuring Studio 18 Art Complex resident artist Carlos Solorzano, where the canvas becomes a psychological theater—a liminal space where memory, culture, and the subconscious collide. This showcase of four airbrushed acrylic works—abstract yet evocative—stand as the surviving fragments of an intense creative process, remnants of an attempt to distill the ineffable. Here, the artist functions as both alchemist and medium, transforming a turbulent inner landscape into an atmospheric brew of earthy tones and spectral imagery. This exhibition is on view from March 13th through June 7th, 2025.

The community can learn more about the City of Pembroke Pines’ latest Events by subscribing to Pembroke Pines Media on YouTube, to NewsFlash, a twice a month digital newsletter at www.ppines.com/Newsflash, by reading the city’s digital newspaper City Connect and website via www.ppines.com, checking the city’s digital signage, or by visiting the City’s Facebook page at www.facebook.com/cityofpembrokepines, and @cityofppines for Twitter and Instagram. Residents with Comcast can view Pembroke Pines Media programming on Channel 78.

For more information visit www.thefrankgallery.org
Follow The Frank Gallery on Instagram @thefrankpembrokepines

Explore the Art of Fashion Icon & Portrait Artist Brandusa Niro at Palm Beach Modern + Contemporary (PBM+C) Art Fair March 20-23, 2025 with Avant Gallery Booth #G3

 

Art Collectors and aficionados are invited to experience the ethereal portraits of Brandusa Niro, lifelong painter and fashion media titan, in a fine art exhibition with Avant Gallery Booth #G3 at Palm Beach Modern + Contemporary (PBM+C) March 20 – 23, 2025. The fair takes place at the Palm Beach County Convention Center, where guests will enjoy the VIP Preview on Thursday, March 20th from 5pm – 9pm. Palm Beach Modern + Contemporary is South Florida’s premier and most prestigious winter art fair, it will coincide with the world-renowned Palm Beach International Boat Show in Downtown West Palm Beach, Florida.

Brandusa Niro, ‘Jacqueline and her pheasant, Louis’ (2025), Acrylic and Flashe on Canvas, 48″ x 36″
This painting will be showcased at Palm Beach Modern + Contemporary

Brandusa Niro, a contemporary multi-disciplinary artist based in Palm Beach and New York, traces her artistic lineage back to her upbringing in Romania. Immersed in a family of creatives, her aunt Geta Caragiu renowned as a sculptor and her uncle Toma Caragiu a famous actor in both film and theatre, Niro’s artistic journey started very early. Brandusa began garnering recognition by winning Romanian National art competitions and captivating audiences on the silver screen, starring in the biggest blockbuster Romanian film “Uncle Marin, the Billionaire,” Niro’s talents shone brightly.

Brandusa Niro, ‘Jacqueline in the Winter Garden’ (2025), Acrylic and Flashe on Canvas, 48″ x 36″
This painting will be showcased at Palm Beach Modern + Contemporary

Relocating to the United States, Niro became a titan in the media and publishing worlds eventually becoming Senior Vice President at IMG Media. In 2002, she laid the foundation for her legacy by founding the esteemed American Fashion industry publication, The Daily Front Row, where she remains as Editor-in-Chief today. Throughout these years, Brandusa Niro continued to create artwork and is now making a full return to her greatest passion that never left. Represented by Avant Gallery, her work has been shown at art fairs such as Art Palm Beach.

Avant Gallery 1111 Lincoln Road – Miami Beach, Florida

In Brandusa Niro’s 2024 series, Models, her inspiration pays homage to the extraordinary women who have graced Niro’s life and career. With each portraits’ brushstroke, Niro conjures visions of ethereal beauty, infusing her canvases with a great use of bright colors and evoking a range of emotions and moods. A blend of realism and impressionism, Brandusa’s muses are elongated and graceful with luminous eyes that pierce the soul, while their oversized heads and unfinished hands imbue them with an otherworldly allure. The Models series evokes senses of sexiness and sensuality yet an eerie, almost haunting, quality, inviting viewers to contemplate the transient nature of beauty itself. Niro is introducing her new 2025 series, About a Girl, presented this month at Palm Beach Modern + Contemporary (PBM+C).

Brandusa Niro, ‘A Chair at the Beach’ (2023), 24″ x 24″, Acrylic on Canvas

“My muses’ stories begin with their eyes, they go on through the languorous movement of their bodies, their endless limbs, the mood behind the strands of hairs caressing their long necks… and from there on they ask their viewer to continue the story with their own imagination.” –Brandusa Niro.

Brandusa Niro, ‘Model Sunbathing’ (2024), Acrylic on Canvas, 48″ x 36″

Niro’s subjects, with their elongated forms and radiant eyes, exude a quiet strength and allure, their oversized heads and unfinished hands adding an ethereal, almost surreal dimension to the works. The series evokes a sense of sensuality and mystery, prompting viewers to reflect on the fleeting and fragile nature of beauty itself.

Collectors and art aficionados are invited to preview new works by Brandusa Niro represented by Avant Gallery in a presentation at Palm Beach Modern + Contemporary (PBM+C) March 20-23, 2025 in Booth #G3 at the Palm Beach County Convention Center, 650 Okeechobee Blvd, West Palm Beach, FL 33401.

Visit www.avantgallery.com/collections/brandusa-niro
Follow Brandusa Niro on Instagram @brandusaniro

FAIR HOURS
Thursday, March 20, 2025
VIP Preview: 5pm – 9pm
Access for PBM+C VIP Passholders & Press, benefiting the Ann Norton Sculpture Gardens

GENERAL ADMISSION
Friday, March 21 from 11am – 7pm
Saturday, March 22 from 11am – 7pm
Sunday, March 23 from 11am – 6pm