Ara Méndez Murillo (°1997, Cordoba, ES, lives and works in Brussels) extracts meaning and symbolism from spontaneous sceneries she encounters, which she conveys in her paintings through bright colours, special light/shadow effects, smart compositions, and playfully assembled objects, figures and landscapes. While she was formally trained in painting during her bachelor in Fine Arts at the University of Seville (Spain), her artistic direction – both technically and narratively – crystallised during her years in Brussels. At La Cambre, her visual language expanded in scale and nuance. Represented by Whitehouse Gallery, Murillo showcased her works in previous exhibitions (‘A light’s narrative’, 2022; ‘The other team’, 2024) and art fairs.
Mina Enowaki (°1998, Annnecy, FR, lives and works in Brussels) grew up between the mountains of the French Alps and spent her summers in Osaka (Japan) – a dual heritage that forms the foundation of her artistic practice. Her work draws from these contrasting environments: French landscapes and neighbourhoods on the one hand, Japanese folklore on the other. Photography, her first artistic love and the focus of her studies in Lausanne (Switzerland), remains the conceptual base of her artistic practice, which is multidisciplinary at heart. Since then, she has expanded her skills through classical painting training at La Cambre in Brussels and through residencies at Fondation Moonens and Fondation CAB, where sculpture, mixed media and textile became central to her evolving visual language. The bronze sculptures presented at Whitehouse Gallery are the culmination of this multidisciplinary trajectory.
Nancy Moreno’s (°1990, Montauban, FR, lives and works in Brussels) paintings captivate viewers through both technique and subject matter. She graduated from La Cambre in 2014, with a specialisation in drawing. Represented by Whitehouse Gallery – where she exhibited previous bodies of work in 2019 (‘Déréalisation’) and 2023 (‘Buzz’) – Moreno now continues to expand her distinctive visual [removed];Mixing resin with oil paints, she builds up her paintings through multiple translucent layers of paint. Each layer requires roughly two weeks to dry before another can be added, stretching the process over long periods of time. Echoing the optical logic of Old Masters like Jan van Eyck, this method produces an illusion of depth and perspective – giving the works their characteristic soft and slightly blurred appearance. She draws inspiration from lived experiences and from imagination and dream-like visions. She paints surreal and bizarre images that stem from a deep fascination for certain themes and concepts. The motif of the bunny, for instance, is drawn from Moreno’s symbolic language, personifying fear and symbolising unknown worlds on the one hand, and appearing cute and endearing on the other.