New York-based artist Howardena Pindell has explored this sense of the infinite – across the cosmos, the deep sea and through number systems - during her career of more than six decades making paintings, works on paper and video. The presentation features a selection of paintings from some the artist’s most iconic series, the ‘hole punch’ and ‘spray dot’ paintings, which showcase Pindell’s labour-intensive method of making and refined technique. Integral to Pindell’s visual lexicon is the circle, in part a reference to the Jim Crow era, during which time a young Pindell encountered utensils reserved for Black people that were identifiable by the use of a circle. Gathered in Pindell’s works in uncountable multitudes, the circle here becomes a unit in the expression of the vastness of the universe.

Night Flight (2024) is an example of the deceptive simplicity and highly materialistic character of Pindell’s unique from of abstraction. At a distance, the deep blue of the acrylic paint calls to mind the unknowable expanse of the sky at night, while seen up close, the surface reveals itself to be made up of hundreds of tiny hole-punched papers clinging to a sewn canvas. Conversely, Deep Sea #2 (2024) seems to pull the viewer into its depths, with its composition of tiny dots that create a gentle circular inwards motion. A similar activation of the canvas surface can be seen in Tesseract #21 (2024), whereby the artist returns to the ‘spray dot’ technique first developed in the early 1970s. Named after the four-dimensional cube, with this series Pindell has embedded floating shapes into her composition, which emerge and recede with the slightest change in viewing position. Composed of layers of thousands of small, coloured circles, the beauty of her work belies the magnitude of the subject matter; her profoundly personal and politically charged practice addresses not only issues of racism and gender-inequality but also natural physics and microbiology.

In her multidisciplinary practice encompassing sculpture, installation and works on paper, London-based artist Marguerite Humeau combines speculative science with artisanal forms to consider life forces, consciousness and what might be loosely considered as the great unknown. Through meticulous research and interdisciplinary collaborations, her artistic endeavours are driven by the mysteries of human existence and the wonder of the natural world.

The sculptures that are brought together in this presentation give shape to life forms that have become extinct or narratives that no longer populate our mental landscape. From the totemic, limestone Venus of Frasassi, A 10-year-old female human has ingested a rabbit’s brain (2018), and the sensuous, alabaster Venus of Hohle Fels (2018), to the botanically inspired Coeur de Marie (2022) which gives form to an emotion for which we have no name, each work extends the known world through Humeau’s interrogation and reshaping. As the artist explains, these figures and scenes come from worlds ‘that might exist’ they are simultaneously propositional and grounded in reality. Whether mining past histories or conjuring future worlds, Humeau identifies the impetus to create as an inherent human need: ‘I think art was born from a will to become eternal, to leave a permanent trace, to transcend our finite condition.’

An understanding of the universe as interconnected underpins the work of Sara Flores, one of the foremost contemporary artists emerging from the Amazonian basin. Flores's paintings engage the practice of Kené – a matrilineal and intergenerational artform native to the Shipibo-Konibo people residing along the Ucayali River. Her intricate, circuitous paintings invoke the complexity of the ecosystem, and speak to indigenous worldviews that connect art, nature and life. As the artist herself attests, Kené is ‘the visual manifesto of our [Shipibo-Konibo] rules of coexistence in reciprocity. It is a reminder that, both in our community and in nature, we are all interconnected.’

An artist and activist, Flores’s practice is inextricable from her commitment to the Shipibo people and their continued struggle to preserve and nourish their land and their heritage. This symbolic interconnectedness is made material in Flores’s work, which employs natural dyes she prepares using plants and materials sourced from her immediate environment. Her distinctive aesthetic language of abstraction is evident in the selection of works presented, including Untitled (Shao Pei Maya Kené, 2024) (2024) and Untitled (Ani Bero Pei Maya Kené, 2025) (2025). The unifying element of these labyrinthine paintings are the lines drawn freehand; suggestive of neural pathways and ecological networks, these veins of colour determine the surface pattern that makes each of her works unique.