Art

Nov 7, 2025 4:51PM

In this monthly roundup, we spotlight five stellar exhibitions at small and rising galleries.

Michael Dines and Grace Dines

“The Arboreal”

Dimmitt Contemporary Art, Austin

Through Nov. 30th

A father and daughter offer two visions of nature in paintings at “The Arboreal” at Dimmitt Contemporary Art—one sweeping and luminous, the other soft and impressionistic. Michael Dines renders hazy, emotion-laden scenes; Grace Dines traces the contours of branches and leaves with powdered pigment on paper.

Michael’s THE BLACK FIELD AT DEMSINS FARM (2025) is a hazy landscape where trees emerge through a weathered surface. For the artist, his landscapes are more about how texture can make people feel immersed in nature. “It’s not important to see the trees,” Michael said to Atlanta Homes & Lifestyles. “I want the viewer of the painting to see and feel moisture in the air, or the absence of light.” Meanwhile, Grace starts her paintings by photographing natural subjects, experimenting with focus and exposure to alter perception. She then transfers these images onto paper using layered powder pigments, creating textured works that contain soft, monochromatic silhouettes of organic forms.

Based in South Carolina, Michael trained in fine arts at West Virginia University and Fairmont State College. His work has been exhibited at Atlanta’s Fay Gold Gallery and Chicago’s Peter Miller Gallery. Born in Atlanta and living in New York City, Grace holds a bachelor’s degree in painting and printmaking from Virginia Commonwealth University.

Suh Hee Sun

“Connected-home”

Suppoment Gallery, Seoul

Through Dec. 31st

Suh Hee Sun begins her paintings by observing a city’s skylines, paying particular attention to how houses and buildings scrape across the horizon at uneven angles. She redraws the buildings’ silhouettes in crayon and pencil before layering, wiping, and tracing acrylic paint to create amorphous and gridded abstract forms. A selection of these architectural paintings is featured in “Connected-home” at Seoul’s Suppoment Gallery.

In Connected-home (2025), Suh renders a geometric house-like form in pink and red grids, intersected by fine lines that suggest structure and perspective. Transparent layers and erased marks give the surface a sense of depth, using urban architecture as templates for her abstract explorations. Like Agnes Martin, Suh uses restrained geometry to evoke emotional balance and acts of quiet introspection within abstract art.

“Through this repetitive process, traces of multilayered memories fill the canvas, leaving behind a refined emotional weight,” the artist explained to *Korean Spirit. *

Suh trained in printmaking at Hongik University in Seoul and SUNY in New York. The artist has presented more than 30 solo exhibitions, most recently at Rho Gallery in Seoul in 2025 and Gallery 41 in 2024.

Jimmy Delatour

“POMPEII - x”

Galerie BSL, Paris

Through Dec. 20th

In his speculative works, Jimmy Delatour imagines Pompeii survived the eruption of Mount Vesuvius in 79 C.E. The French designer uses travertine, a type of limestone, and two different types of marble to create furniture pieces inspired by the famous ruins of the Italian city, resulting in eight sculptural furniture pieces for “POMPEII - x” at Galerie BSL in Paris.

In Pompeii-x Méridienne (2025), a reclining daybed made of layered marble and pale stone, Delatour replaces the traditional Roman materials, wood, and metal with elegant stonework. These stones are crafted in Italy by stone atelier Les Marbreries de la Seine and given faded finishes to cultivate a patina. Accompanying the furniture are Delatour’s “Artifacts” wall works, which serve as fictional relics. Artifact A, Madame Récamier (2025), a mixed-media image in a bespoke frame, features a woman reclining on the daybed in the show, creating a counterfactual imagined history for the furniture piece as if it came from historical Pompeii itself.

After graduating from Paris’s ESAG Penninghen in 2008, Delatour founded Delatour Design Paris. Over the years, his clients have included the Rodin Museum and the Paris Opera, among others. His furniture has been presented by New York’s StudioTwentySeven and Australia’s Freeman Gallery.

Shigehiko Sasaoka

Gallery Yukiko Nakajima, Osaka

Through Nov. 18th

A moon hovers over a pool; a sailor salutes an invisible horizon; a single tree glows under tiny stars. In Shigehiko Sasaoka’s palm-sized worlds, reality bends toward dreams in playful scenes evocative of the Surrealist paintings of René Magritte. Osaka’s Gallery Yukiko Nakajima is featuring 13 of these tiny canvases in a solo exhibition named after the artist.

The Japanese artist’s miniature compositions stage encounters between the ordinary and the uncanny. In キングの条件 (2017), a 7-by-7-inch painting, a gray stone floats midair between drawn curtains, its weight defying gravity in front of a painted blue sky. This work undoubtedly parallels Magritte’s 1959 painting The Castle of the Pyrenees, which shows a castle perched upon a floating rock. Meanwhile, in 十字塔の朝 (2011), a fantastical white citadel radiates across a forest clearing, its symmetrical arms echoing a compass. Across these works, Sasaoka reconfigures Magritte’s motifs of light, veils, moons, and impossible perspectives with his own gentle humor.

Born in Kochi Prefecture, Japan, in 1952, Sasaoka developed a lifelong practice around what he calls the “size 0” canvas, each of which invites close looking.

Manuela de la Vega Castro and Claudia Pons Bohman

“A Través del Agua”

Tönnheim Gallery, Madrid

Through Nov. 19th

Manuela de la Vega Castro and Claudia Pons Bohman both use water as part of their processes. De la Vega Castro paints directly onto smooth plates with watercolor, then presses paper over them to make one-of-a-kind prints. The paint spreads unpredictably, turning familiar forms into soft, abstract impressions. Meanwhile, Pons Bohman builds her paintings in slow layers of color, using water and light to create luminous acrylic landscapes. These two artists, who share a studio in Madrid, come together for “A Través del Agua” (meaning “Across the Waters”) at Tönnheim Gallery.

In de la Vega Castro’s Flores de plástico (2025), pale splashes of pink and green appear like flower petals being washed away or dissolved by water. Pons Bohman’s Arriba y abajo (2025) moves in the opposite direction—thick with atmosphere, it captures the shimmer of light on a dense tropical riverbank. Together, these two artists demonstrate the influence of water on their practices.

Born in Madrid in 2002, de la Vega Castro devised her monoprint method while studying at the Royal College of Art in London. Pons Bohman, born in 1999 in Washington, D.C., studied art at Nyckelviksskolan Art School in Stockholm, the Barcelona Academy of Arts, and the Transforming Arts Institute in Madrid, before earning her MA degree from the Royal College of Art.

MR

Maxwell Rabb

Maxwell Rabb (Max) is a writer. Before joining Artsy in October 2023, he obtained an MFA from the School of the Art Institute of Chicago and a BA from the University of Georgia. Outside of Artsy, his bylines include the Washington Post, i-D, and the Chicago Reader. He lives in New York City, by way of Atlanta, New Orleans, and Chicago.