Third Person

Third Person brings together artists whose practices operate from a position slightly removed from assertion, self-expression, or overt authorship. The exhibition focuses on works shaped by slowness, restraint, and attention, where form and meaning emerge gradually rather than being declared from the outset. These are practices that allow decisions to unfold over time, often through observation, repetition, and material engagement.

Non-agency is understood here, not as a rejection of sensibility or intention, but as a shift as to where authorship is located. While the works remain deeply informed by personal sensibility, authorship unfolds from within the process itself, through duration, material decisions and internal constraints. Rather than emphasizing expression, the exhibition brings together practices in which forms appear quietly, holding a certain distance while remaining attentive to perception, surface, and atmosphere.



Luz Carabaño (1995, Maracay, Venezuela) develops her practice from close observation and slow looking, drawing from fragments of everyday environments such as marks of wear, shadows, and incidental patterns that hover between recognition and abstraction. Working primarily on linen prepared with layers of gesso and sanding, she builds smooth, tactile surfaces where forms emerge gradually through subtle tonal shifts, divisions, and repetitions. All of her paintings are made on subtly irregular panels, shaping the composition and reinforcing the relationship between image and object. Selected solo and duo exhibitions include Hoffman Donahue, New York (2025); Super Super Markt, Berlin (2024); Hannah Hoffman, Los Angeles (2023–24); Lulu, Mexico City (2023).

Nahrae Lee (1986, South Korea) paintings develop through repetition, layering, and subtle tonal shifts. Oval and diamond-shaped forms expand, contract, and dissolve into muted fields of color, creating compositions that move between surface and depth, often associated with rhythms of breathing. Working with oil paint combined with traditional Korean mineral pigments (bunchae), she builds restrained tonal variations where space is felt rather than constructed, and forms emerge gradually through density and rhythm. Lee graduated from the Haute École des Arts du Rhin in Strasbourg. Her first solo exhibition, In Its Entirety, was held at Gallery Mazzotti, Basel (2025). In 2021, she received the Théophile Schuler Prize.

Rina Yoshizawa (1998, Niigata, Japan) depict intimate, shifting views of her immediate surroundings, from domestic interiors to landscapes seen through curtains or reflections. Working through photographs, studies, and thin layers of oil and charcoal, she gradually builds compositions that are partially washed, allowing forms to dissolve and re-emerge. Light refracts, colors soften, and space flattens into quiet, contemplative fields shaped by memory and perception. Recent solo exhibitions include King’s Leap, New York (2026), and Tatsuro Kishimoto, Tokyo (2025). Yoshizawa has also presented her work in a two-person exhibition at Space Aya and a group exhibition at Toyo Media Link, Tokyo.