Art Basel Miami Beach

Booth D20

6–10 December

Siobhán Hapaska 
winter sun at 19:48 hrs 2017
aluminium, steel, concrete cloth, brass, paint 
150 x 106.6 x 75 cm / 59.1 x 42 x 29.5 in 
Additional Views

Willie Doherty, Dreams of Renewal, Dreams of Annihilation, 2017, triptych, framed pigment prints mounted on Dibond, edition 2 of 3, 121.6 x 419.6 cm / 47.87 x 165.19 in

Additional Views

Aleana Egan, Element of the Stage, 2017, untreated bronze, 164 x 27 x 6 cm / 64.6 x 10.6 x 2.4 in 

Additional Views

Callum Innes, Untitled Lamp Black No.4, 2015, oil on linen, 160 x 156 cm / 63 x 61.4 in   

Additional Views

Zhou Li, White Shadow – Lines No.5, 2017, mixed media on canvas, 160 x 160 cm / 63 x 63 in   

Additional Views

Isabel Nolan, Swell, 2017, hand-tufted 100% New Zealand Wool, 15 mm pile, 300 x 210 cm / 118.1 x 82.7 in   

Additional Views

Hannah Fitz, Candelabra, 2017, mixed media, 125 x 72 cm / 49.2 x 28.3 in   

Additional Views

Jan Pleitner, Untitled, 2017, oil on canvas, 230 x 140 cm / 90.6 x 55.1 in   

Kerlin Gallery, Art Basel Miami Beach, Booth D20, 6–10 December 2017

Kerlin Gallery, Art Basel Miami Beach, Booth D20, 6–10 December 2017

Kerlin Gallery is pleased to announce its participation in Art Basel Miami Beach 2017.

In Booth D20, the gallery presents a carefully selected presentation of work by seven artists.

Siobhán Hapaska continually reconsiders the role of the object in contemporary sculpture. Her dazzling array of materials, each loaded with history and multiple readings, are persuaded into complex relationships of both potential energy and harmony. Often enigmatic in form, each work betrays a sober exploration of emotion that is undercut with a sense of humour and always devoid of cynicism or pessimism. For more information on Siobhán Hapaska, click here.

Since the 1980s, Willie Doherty has been a pioneering figure in contemporary art film and photography. At once highly seductive and visually disorientating, Doherty’s artworks tend to begin as responses to specific terrains (most often mysterious isolated settings; places, we suspect, with a troubled past) and evolve as complex reflections on how we look at such locations – or on what stories might be told about their hidden histories. For more information on Willie Doherty, click here.

Aleana Egan's art is predominantly intuitive and subjective; she uses simple materials, assembled or barely transformed, to create enigmatic works that have a restrained tone and structure. She groups these pieces into installations that are oddly ambivalent; on the one hand she draws our attention to the way things look, how they settle, sag, curve, or hang; on the other, her forms and shapes act as traces or memories, and as a tentative articulation of shifting responses to remembered places or everyday moments. For more information on Aleana Egan, click here.


Callum Innes is among the most significant abstract painters of his generation. His paintings are highly disciplined but also uncertain spaces, combining the controlled authority of monochrome geometric forms with ever-present traces of fluidity and an always-apparent tendency towards formal dissolution. His paintings are at once formally strict and compellingly ‘fragile’, drawing intelligently on long traditions of abstraction just as they also emerge from a very singular – and yet constantly evolving – creative process. For more information on Callum Innes, click here.

Zhou Li creates paintings, sculptures, installations and public art using mixed media, including oil paint, washes of ink, charcoal and cotton cloth. Her lyrical abstract paintings capture her acute sensory observations of the world: lightness and shadow, solidity and dissolution, the sense of being. Building upon the history of European painting and the central tenets of traditional Chinese art (Qiyun, or atmosphere; brush stroke; colour and structural arrangement), Zhou Li harnesses both traditions to develop a distinct painterly language. For more information on Zhou Li, click here.

Isabel Nolan has an expansive practice that incorporates sculptures, paintings, textile works, photographs, writing and works on paper. Her subject matter is similarly comprehensive, taking in cosmological phenomena, religious reliquaries, Greco-Roman sculptures and literary/historical figures, examining the behaviour of humans and animals alike. These diverse artistic investigations are driven by intensive research, but the end result is always deeply personal and subjective. For more information on Isabel Nolan, click here.

Hannah Fitz (b. 1989, Dublin) works predominantly with sculpture and video, making groups of objects that collectively build and break down basic formal identities. Her sculptures often represent familiar or domestic objects, rendered in such a way that reveals their artifice – rejecting sleekness or ‘finish’, they are instead articulated by curling lines and uncertain ‘wobbles’. They appear to co-exist in a universe that omits us, reflecting back a familiar yet uneasy version of the world.

Deeply influenced by science fiction, the fast movement of Jan Pleitner’s jolting lines reflect his dynamic, durational approach to painting, often completing works in single, marathon sessions. But on another level, his rich, luminous colours also hint towards something more mysterious, giving a physical manifestation to the invisible forces that continuously surround our existence, or lending a highly-saturated colour palette to the unchartered abyss of the subconscious mind. For more information on Jan Pleitner, click here.

For further information and high-res images, contact Rosa Abbott,


Culture Ireland
With support from Culture Ireland