Interwoven Realities places five distinct artistic languages side by side to stage a cross-cultural arena of dialogue. From the density of classical painting to the lightness of digital transposition, from figurative projections of memory to abstract inscriptions of space, viewers are invited to navigate multiple modes of looking and to reconsider the evolving conditions of existence and transformation.
In Josh Juett's paintings, the sombre tonality of seventeenth-century Dutch still life intertwines with the codes of popular culture. Through exacting realism, cartoon avatars and private collectibles are orchestrated into contemporary wunderkammern-pictorial accumulations that articulate selfhood while quietly alluding to transience and time. By contrast, Mai Yokoyama begins with iPad sketches, translating the copy/paste/undo logic of the digital workspace into the tactility of oil paint. Working in oil yet with a meticulous, fine-brush technique associated with nihonga, she builds layers stroke by stroke to approximate the stacking of digital layers. This paradox of "handmade digital" lets her move between the virtual and the physical, loosening the boundary between the real and the illusory, and revealing the cognitive gap between abstract planning and embodied execution.
Ruth Morán constructs a precise syntax of line, dot, reserve and colour. Calibrated densities and rhythms allow light and shadow to accrete and breathe, operating temporally and inviting psychological and affective readings. Her marks function as a reflection on writing-as-signs, extending syntax across single works and between works. Sayuri Tsuboyama, working in translucent layers and restrained touch, explores the mutual permeation of human and vegetal forms: bodies dissolve into growth, edges soften, and a post-anthropocentric mode of seeing emerges, where the sediment of pigment and the passage of time become the work's content.
Toni Hamel adopts a cool, satirical narrative to probe the anxieties of an anthropocentric age. Staging tensions between virtue and vice, the sacred and the profane, she draws on art-historical references and popular culture to question prevailing behaviours and their consequences, locating a finely tuned threshold between allegory and the everyday.
More than a presentation of artworks, the exhibition is an interlacing of vision and thought. Between difference and resonance, it invites a re-understanding of the shape of memory, the breath of nature, and the silent language behind symbols-bearing witness to how images continue to fabricate reality at the intersections of digital and material, sign and body, the personal and the cosmic.