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JULY 2026
Lynn Ubell: Resistance - as Landscape
Lynn Ubell’s paintings are constructed through a process of accumulation, interruption, and revision. Layers of pigment, drawn mark, and repeated forms are built up and then partially removed, exposing earlier states and reconfiguring the surface. What remains is not a single image but a field of competing decisions, where each action leaves a visible trace.
Across the work, systems emerge. Grids, bands, and scaffold-like arcs establish an underlying order, suggesting both built environments and natural structures. These systems are not stable. They are repeatedly unsettled by scraping, veiling, and misalignment, producing surfaces that oscillate between coherence and fracture. Spatially, the paintings shift between landscape and constructed form, never fully resolving into either.
The material surface carries this instability. Paint is dragged, abraded, and reworked; edges are tested and revised. Color operates structurally—compressed into bands, dispersed into fields, or concentrated in moments of intensity—organizing the composition without describing it. The result is a surface that registers time, pressure, and adjustment.
In recent work, these conditions take on increased urgency. The paintings engage questions of balance, adaptation, and persistence, as structures are tested and re-formed over time. These pressures are worked through materially, in the persistence of building, breaking, and rebuilding the surface.
Selected works are installed to retain a degree of movement, allowing them to respond subtly to air and proximity. This approach extends the logic of the paintings beyond the surface, introducing a shifting relationship between object, space, and viewer. The works are encountered not as fixed images, but as responsive forms that continue to adjust within their environment.
At Colloquia, this body of work is presented as a sustained inquiry into how systems—bodily, environmental, and constructed—hold and evolve over time. The exhibition brings these paintings together to be read not individually, but as variations within a shared condition: structure in motion.
About the Artist
Born in New York City and raised in Great Neck, Long Island, Lynn Ubell earned her MFA in Painting from Cranbrook Academy of Art in Bloomfield Hills, Michigan, where she studied with George Ortman, a former student of Hans Hofmann. After graduating, she returned to New York City and apprenticed with the renowned painters Agnes Martin and Harmony Hammond, formative experiences that continue to inform her thoughtful and disciplined approach to painting.
While raising two sons as a single mother, Ubell built a successful career as a creative director and entrepreneur in advertising before later turning to education. As a special education art teacher with the New York City Department of Education, she worked with students with autism and multiple disabilities, using art as a means of developing communication, problem-solving, coordination, and independence. This experience deepened her understanding of perception, process, and the many ways people engage with the world.
Today, Ubell paints full time in her New York studio. Her work has been exhibited in galleries throughout the Northeast and is held in private collections across the United States. Her paintings invite sustained looking, revealing subtle relationships of color, form, and space that continue to unfold over time.
June 2026
Zoe Baer: Still
Still presents charcoal drawings by Zoe Baer that examine how identity is formed and perceived under conditions of visual saturation.
Baer begins from a simple observation: contemporary life is shaped by images that are edited, staged, and circulated at speed. Recognition becomes unstable. Identity expands into visible markers—appearance, status, biography—yet these do not provide reliable access to the self. Rather than illustrating this, Baer reconstructs it through drawing.
Her work is grounded in technical precision. Using charcoal, she develops highly controlled, photorealist images defined by light, shadow, and texture. Faces, bodies, and animals emerge with clarity, yet do not fully resolve. Edges soften. Forms recede. The subject remains partially available.
This tension between control and instability is central. The drawings appear to offer recognition, then withhold it. Meaning does not arrive immediately, but develops through sustained attention.
Process plays a critical role. Charcoal allows for both control and revision. Baer builds surfaces through layered tonal shifts, where marks are reinforced, softened, or partially erased. Her background in art restoration informs this approach. Rather than securing the image, she maintains its openness.
Across portraits and animal studies, Still establishes a slower contract with the viewer. These works resist the glance and require time. Recognition becomes provisional rather than fixed.
The work does not reject identity, but narrows its claims. When usual signals are reduced, what remains is a form of presence that does not rely on performance or completion.
About the Artist
Zoe Baer (b. 1994, Paris) is a fine artist and art restorer based between Paris and Luzern, Switzerland. She specializes in photorealist charcoal drawing, with a sustained focus on light, shadow, and texture. Her work explores how technical precision can produce images that remain perceptually and psychologically open.
Baer trained in art restoration at Atelier du Temps Passé in Paris (completed 2021) and holds a BA in Film and Media from University College London. Her restoration practice, including the conservation of historically significant works, informs her sensitivity to surface, material integrity, and visual continuity.
She has exhibited internationally and is represented by galleries in Austria and Australia, as well as Saatchi Art.
May 2026
Marc Sirinsky: Emergence
Landscape often appears stable until memory begins to act upon it. In Emergence, American photographer Marc Sirinsky approaches landscape not as a record of place but as a surface onto which experience, emotion, and recollection are projected. The photographs begin with the external world yet arrive somewhere more interior—where recognition is shaped by personal history and perception becomes inseparable from remembering.
The images create conditions of familiarity without settling into certainty. Light, horizon, and atmosphere suggest recognizable terrain, yet the photographs resist becoming straightforward descriptions. Haze, compression, and subtle material shifts interrupt the expectation that photography should provide clear evidence of place. Instead, the work behaves more like memory itself: partial, layered, and reconstructed over time.
At Colloquia, what is particularly compelling in Sirinsky’s practice is the convergence of image and material. Each body of work arrives through a deliberately constructed method. Modified cameras, experimental printing strategies, and carefully selected substrates extend the expressive range of the photographic medium. These technical decisions are not ornamental. They are developed in direct response to the conceptual questions guiding each series.
The exhibition therefore becomes a celebration not only of images but of photographic possibility. Sirinsky moves beyond the traditional toolkit of the photographer to deepen the territory of fine art photography, demonstrating how experimentation—when disciplined by artistic intent—can expand the medium’s visual and conceptual language.
The title Emergence reflects this gradual coming-into-being. Meaning does not present itself immediately. It develops through attention, as perception adjusts and the viewer begins to recognize how memory, material, and image interact.
About the Artist
Marc Sirinsky is an American photographer whose work explores how memory shapes perception, often using landscape as the primary site of inquiry. Working across analog and digital methods, he frequently develops new processes for each body of work, experimenting with camera modifications, alternative substrates, and hybrid printing techniques that allow the material structure of the photograph to reflect the ideas behind it.
His work has been exhibited widely in the United States and internationally at venues including the Griffin Museum of Photography, the Attleboro Arts Museum, Candela Gallery in Richmond, the Bonita Museum & Cultural Center in California, and the Chania International Photo Festival in Greece. He has also exhibited extensively with A Smith Gallery in Texas.
Sirinsky earned a BFA with honors from the University of Michigan School of Art and Design in 1997. Originally from the Chicago area, he now lives and works in Leesburg, Virginia.
April 2026
Christof Henninger: (Un)becoming.
Perception can feel immediate until it begins to slow. In (Un)becoming, German photographer Christof Henninger presents a body of portraits that resist the quick legibility of contemporary image culture. These images are not portraits of individuals but portraits of states—moments suspended at a threshold between what was and what might be.
Henninger approaches photography as translation rather than documentation. His subjects are not asked to perform but simply to arrive, bringing whatever they carry into the room. What unfolds between photographer and subject becomes the work itself: an encounter shaped by presence, restraint, and the unpredictable exchange between two histories.
The images are stripped of context. Backgrounds recede, environments disappear, and narrative cues are deliberately withheld. What remains is the encounter itself. Light operates as a form of editing, revealing a contour, a shadow, a texture, while allowing everything else to fall away. The resulting portraits feel both precise and unsettled—visually composed yet emotionally unresolved.
At the centerof the series lies a deliberate contradiction. The work is carefully staged and constructed, yet within that framework Henninger seeks something raw and unfinished. Precision creates the still surface necessary for ambiguity to breathe, allowing the images to remain suspended rather than resolved.
The title (Un)becoming holds two movements at once. Becoming suggests transformation, a movement toward definition. The parentheses destabilise it, introducing the possibility of reversal or hesitation. Identity appears here not as a fixed condition but as a state in motion—poised between dissolution and emergence.
Curated by Colloquia Art, (Un)becoming invites viewers to slow their looking and remain within that threshold. The photographs do not deliver answers. They establish the conditions for presence, asking the viewer to inhabit the silence they hold open.
Guests and prospective collectors are invited to explore the virtual exhibition to view available works, make inquiries, and download the exhibition brochure.
About the Artist
Christof Henninger is a photographer whose practice approaches portraiture as a form of translation, seeking to render interior states visible through restraint and precise composition. Working within a calm, graphic visual language, he develops images in which light, gesture, and spatial distance are carefully controlled to create photographs that function less as likenesses than as vessels.
Henninger is not interested in documenting appearance alone, but in what unfolds when two individuals meet, each carrying their own history into the encounter. His portraits deliberately hold back more than they reveal, allowing meaning to emerge through the viewer’s participation.
Through disciplined construction and technical precision, Henninger creates photographs that resist the speed of contemporary image culture, inviting sustained looking and quiet engagement.
Henninger works on personal projects and commissioned photography internationally and has exhibited in Germany, Italy, and the United States, including LoosenArt – Millepiani in Rome during RAW – Rome Art Week (2025), the WERKStadt HeimArt exhibition in Limburg/Lahn, and a commissioned public photography project for the city of Limburg marking the 15th anniversary of WERKStadt.
March 2026
Christian Vonarburg
Strata presents new work by Swiss artist Christian Vonarburg, whose practice is grounded in abstract geometry and a sustained commitment to non-narrative form. Built through rigorously constructed systems, the works translate geological processes—layering, accumulation, and deep time—into visual structures that operate through clarity rather than representation.
At its core, Strata is concerned with how time becomes legible. Vonarburg does not depict geology in any figurative sense. Instead, he converts its underlying logic into formal systems composed of repeated geometric motifs, rhythmic structures, and controlled colour propagation. Layers, fractures, and accretions are not illustrated; they are translated into visual operations that unfold across the surface of the work.
What initially appears precise and ordered gradually opens into a perceptual shift. The repetition of motifs produces variation rather than uniformity, and colour moves through form as a dynamic force rather than a descriptive one. The result is an encounter with time operating at scales far beyond human experience—a subtle sense of vertigo arising from the recognition of duration, pressure, and accumulation. Perception slows, attention sharpens, and complexity becomes structured rather than overwhelming.
Most works in the exhibition are realized using risography, whose incremental layering echoes the sedimentary logic at the heart of the project. A small number incorporate xerography and pencil, extending the same structural concerns through different material means. Across media, precision and repetition function not as stylistic choices, but as method.
Installed together, the works in Strata form a shared visual field rather than a linear progression. They invite viewers to inhabit the space of the exhibition, to register how time accumulates rather than resolves, and to experience abstraction as a means of thinking through scale, duration, and coexistence. Strata offers a meditation on how complexity can be held—clearly, rigorously, and without reduction.
Clients are invited to visit the virtual exhibition to view works, make inquiries, and download the exhibition brochure.
About the Artist
Christian Vonarburg was born in Fribourg, Switzerland, in 1967 and lives and works in Etoy, near Lausanne. His practice is rooted in abstract geometry and a deep commitment to formal construction. Trained in fine arts and architectural drafting, Vonarburg approaches image-making as a system—one in which method frames perception and form generates meaning directly.
Central to his work is the development of rigorously defined, non-overlapping geometric motifs. These motifs function as dynamic interfaces, mediating relationships between structure and colour, repetition and variation. For Vonarburg, form does not illustrate content; it is content. Meaning emerges through clarity, precision, and the direct experience of the image rather than through narrative or symbolism.
In recent bodies of work, including Strata, Vonarburg has turned to the geological imaginary as a formal problem rather than a representational one. Processes such as layering, accumulation, and deep time are translated into visual systems that operate across spatial and temporal scales. His work functions as a speculative archaeology, rendering vast, imperceptible processes visible through disciplined abstraction.
Alongside his studio practice, Vonarburg serves as Course Development Manager at EPFL’s Center for Digital Education. His involvement in education has profoundly influenced his artistic approach, nurturing an ongoing reflection on knowledge, perception, and art as a vehicle for questioning how meaning is constructed and transmitted. His work has been exhibited in Switzerland, Europe, the United States, and Central America.
January-February 2026
Cliff Warner: States of Being
States of Being marks the first exhibition in the United States of British artist Cliff Warner (b. 1961, England). Trained in painting and figurative drawing, Warner has developed a practice that moves deliberately between figuration and abstraction. His paintings are grounded in the human figure, yet resist fixed narratives, instead holding emotional and psychological states in suspension. Figures appear, recede, and sometimes fragment, embedded within atmospheres that remain intentionally unresolved.
For this exhibition, Warner presents a recent body of work that reflects his sustained inquiry into presence, solitude, and interior experience. These paintings are not illustrations of specific moments or stories. Rather, they function as quiet propositions—images that register states such as reflection, tension, closeness, and withdrawal without naming them directly. Ambiguity is central to the work, allowing meaning to emerge slowly through attention rather than explanation.
Process plays a critical role in shaping these images. Warner works through layers of acrylics, oils, pastels, inks, and spray paint, building and interrupting surfaces over time. Portions of the image are obscured or partially erased, suggesting memory, revision, and the limits of perception. What remains visible carries weight precisely because it has emerged through concealment.
Colloquia Art has curated States of Being to foreground this quiet intensity. The exhibition invites viewers to slow down, to inhabit the paintings rather than interpret them, and to recognize their own states of attention and feeling as part of the encounter. In presenting Warner’s work to U.S. audiences for the first time, the gallery affirms its commitment to art that resists easy classification and rewards sustained, reflective looking.
Clients are invited to visit the virtual exhibition to view works, make inquiries, and download the exhibition brochure.
About the Artist
Cliff Warner was born in England in 1961 and studied Fine Art at Liverpool Polytechnic, where he developed a strong foundation in painting and figurative drawing. Over several decades, his practice has remained committed to the human figure while gradually loosening its boundaries, allowing abstraction to enter not as departure but as extension.
Warner’s paintings are guided by intuition, revision, and restraint. He does not begin with a fixed image in mind. Instead, forms emerge through process, shaped by repeated engagement with the surface. Marks are added, softened, disrupted, or buried. The figure is never simply depicted; it is arrived at. This approach gives the work its distinctive psychological depth. The figures feel less like subjects being observed and more like presences being registered.
Solitude plays a recurring role in Warner’s work, but it is not presented as isolation. Figures exist in relation—to one another, to the space they occupy, and to the viewer. Even when alone, they seem held within a larger emotional field. Warner is attentive to small shifts that define inner life: the turn of a head, the weight of a posture, the pause between actions. These moments are understated, yet they carry resonance.
For Warner, painting is a way of thinking through feeling rather than illustrating it. The work does not offer conclusions. It offers conditions. In States of Being, his first U.S. exhibition, Warner presents paintings that reward sustained attention and invite viewers into a slower, more reflective mode of looking—one in which meaning emerges gradually and remains open.
November 2025
Harouna Ouédraogo: Spaces In Between
Colloquia art is thrilled to launch its 2025-2026 season with Spaces In Between, the first solo U.S. exhibition of Harouna Ouédraogo, a singular voice in contemporary African abstraction. This exhibition marks both the artist’s American solo debut and Colloquia art’s inaugural show of the year—an expressive pairing that embodies the gallery’s commitment to bold, boundary-crossing work.
For this exhibition, Ouédraogo brings a body of new work created specifically for Colloquia art. These paintings continue his exploration of urban density, personal myth, and collective memory—yet with a renewed intensity and clarity. The works are bold, physical, and emotionally precise, inviting viewers into a raw and intimate encounter.
The installation makes this restlessness visible. Rather than hung flat against the wall, the canvases are suspended slightly forward, hovering in space. They appear provisional and radiant, as if caught mid-process—paintings that are free and captured at once, between movement and stillness, process and permanence.
Colloquia art has curated Spaces In Between to highlight precisely this tension. Our perspective is that the most vital art is not fixed in meaning but alive in its capacity to remain open. This exhibition introduces an important contemporary voice to U.S. audiences and reflects our commitment to presenting work that resists easy categories, rewards slow looking, and sustains layered ways of seeing.
Guests and prospective clients are invited to visit the virtual exhibition to view works, make inquiries, and download the exhibition brochure.
About the Artist
Born in 1981 in Ouahigouya, Burkina Faso, Harouna Ouédraogo is known for his emotionally charged, semi-figurative paintings that fuse raw gestural abstraction with deep psychological resonance. A graduate of INAFAC (Institut National de Formation Artistique et Culturelle) in Ouagadougou, Ouédraogo has exhibited internationally, but this show marks his most focused U.S. presentation to date.
Ouédraogo describes his practice as “noisy figuration”—paintings alive with interruption, rhythm, and energy. Working primarily in acrylic and mixed media on canvas and paper, his visual language is immediate and improvisational: layering vibrant mark-making, erratic linework, and recurring symbolic figures that speak to identity, memory, and personal myth. His paintings are neither fully abstract nor comfortably figurative, dwelling in a charged in-between space that challenges interpretation and insists on feeling first.