Timothy Taylor is pleased to return to Art Basel Miami Beach 2023 with a booth focused on paintings by gallery artists as well as a curated selection of both modern and contemporary works. The presentation includes Daniel Crews-Chubb, Gabriel de la Mora, Jean Dubuffet, Jonathan Lasker, Chris Martin, Josephine Meckseper, Richard Patterson, Hilary Pecis, Hayal Pozanti, Sean Scully, and Paul Anthony Smith, as well as work by newly represented artists Alicia Adamerovich, Michel Pérez Pollo, and Sean Landers.
Booth highlights include Alicia Adamerovich’s textured oil painting, Cut our ties and we will explode (2023), whose layered composition achieves uncanny effects of surface, depth, and atmosphere. Depicted in iridescent indigos and ambers, this new painting reflects her exploration of the subconscious. Also drawing on the legacy of Surrealism, Michel Pérez Pollo renders compositions of biomorphic forms captured in precarious states of balance. Two Poets, the artist’s concurrent exhibition in London—and first with the gallery—further substantiates his pursuit of harmony amidst chaos. With an air of wry humility, Sean Landers uses text to signal the omnipotence of nature and articulate our collective anxieties. Introspective and deeply personal, The Only Marks (2019) is the first of his works to be exhibited by the gallery.
In April, Hayal Pozanti inaugurated our New York space with her debut solo exhibition at the gallery. Painted specifically for the fair, Your Love's Sunshine Kiss (2023) basks in a wash of tropical colors and epitomizes the artist's lyrical style. New work by Hilary Pecis and Daniel Crews-Chubb-also created for the fair-deviates from traditional modes of figuration. The hyper clarity of Pecis's Blue Porch (2023) imparts a sense of pixelated abstraction to the scene, while Crews-Chubb's multimedia painting Immortal XXV (red) (2023) is an exercise in improvisation and vigorous mark-making. In a work from his ongoing series Dreams Deferred (2023), Paul Anthony Smith employs deliberate painterly techniques with profound implications. Smith obscures a suburban park behind a trompe l'oeil chain link fence, heightening the exclusion through blurry Impressionist brushstrokes. The resulting work alludes to the physical, social, and cultural barriers to access and equality.
Nearby, a suite of seven recent floral studies by Alex Katz serve as a delicate reminder of the ephemerality of nature. Bold and gestural, two late career paintings by Jean Dubuffet, Tailleur épinglant (1975) and Champ Psychophysique (1984), further immortalize human emotion through the artist's singular blend of figuration and abstraction.
The paintings on view in Booth C03 showcase each artist's distinct approach to painting and thoughtfully illustrate the gallery's commitment to bolstering new and visionary voices.
