Photo: 2021 Marcus Jansen studio Neighborhood on Lincoln Ave. Port Morris, South Bronx, New York.

​CHRONOLOGY
​
Marcus Jansen first residency with his Grandfather at 880 Boynton Ave. apartment Bronx New York 1969.
“The American myth needs to be reexamined in the twenty-first century, even rewritten. One of the most important contributions in this regard is being produced by the American Marcus Jansen. With Caribbean and German roots, he is a painter through and through, a painting diagnostician with a gaze as comprehensive as it is incisive. He radically disposes of the early American myth of undeviating progress. His results are disconcerting, and they can be frightening.”

​- Prof Dr. Manfred Schneckenburger, Art Critc/ Art Historian and Documenta Kassel, Curator 1977 and 1987 as well as former director of the Kunsthalle Koln and Professor and reactor at the Kunstakademie Muenster.

1968-1976
  • Marcus Jansen was born 1968 in New York City while residing with his family in the Bronx. His earliest memories are his close Caribbean family, listening to the Edward Hawkins Singers "Oh Happy Day," watching superhero cartoons, his father watching news, politics, the Vietnam war and seeing protests and Dr. Martin Luther King on TV. He was baptized in Riverside church in Manhattan, only a year after Dr. MLK spoke there in 1967.
  • ​Jansen resided in the city during the emergence of economic decline and the emergence of a graffiti subculture on trains and walls that permanently changed the city’s visual environment around him in those early years of the 1970’s. He was first raised in high riser apartment on the 12th floor by his Grandparents, aunt and mother, a practicing nurse from Jamaica in the Soundview Park section on Boynton Ave. in the Bronx, later joined by a German born father, a businessman and historian from Germany​
  • ​The family, moved to Laurelton Queens, and while attending PS 156 at age 6, Jansen was included in a New York City student art competition and exhibited a stunning painting of a male lion on paper at the Lever House, in Manhattan. This event introduced Jansen to the world of public art exhibitions.
Marcus Jansen (right) watching street artists in Paris France, 1980
1976-1979
  • Jansen left New York City shortly before the explosion of the punk rock and hip-hop art scene, and was transplanted from the Big Apple to a very opposite world to the city of Moenchengladbach, Germany, his father's birthplace, widely known also as the birth places of artist Markus Lüpertz and Hitlers propagandist Joseph Goebbels. He was placed in a German-speaking school, faced linguistic challenges and severe racism as the only child of color in the school and town but excelled in art and sports more than academic subjects.

1980-1985
  • Jansen frequently revisited his native New York during summers staying with his family in the Bronx or on the upper west side in Manhattan with his God Mother during the important 80s cultural art movement over the summers and returned to the Bronx for the first time again in 1982. A rebellious graffiti movement was dominating the city's youth and served as Jansen’s first major artistic influence. He became fascinated with how art was altering the urban landscape he had left and admired those that lead the way.
  • A 14-year-old Jansen encountered a book about Robert Rauschenberg in a Moenchengladbach, Germany, train station, and although he had never heard of the artist, was fascinated by the cover depicting instruments mounted on wood in a golden color. They exuded a strong urban, inner city feel that he had not yet encountered.
  • Growing up, Jansen experienced challenges with viewers understanding his paradoxical cultural influences between in particular Germany and New York City and sought to find other means of bridging social, cultural and economic class differences in his art as well as tying them together. Politics, current events and world history were at the forefront of discussions initiated by his historian father during much of Jansen’s upbringing.​
  • It was the vibrant German Expressionist painters and up-and-coming graffiti artists in New York and during travel to Paris, Amsterdam and Brussels, and the New York action painters that left their strongest imprint on Jansen. Attracted by movement, color and motion, he is still drawn to these impulsive, rebellious avant-garde painters and sees a common thread between the graffiti writers and hailed contemporary masters that he explores in his work, creating a bridge of communication. Jansen believes that impulsive and subconscious work is a direct reaction to the oppressive politics and economically disadvantaged and regimented environment from which it arises. He states, “A civilized society is forced to renounce instinctive behavior; it is up to the artist to bring it to the surface.”
Marcus Jansen with former girlfriend and TRAZ ONE, in front of SHOE piece in Amsterdam tagging 1987.
1986-1988 ​
  • Jansen meets Manhattan-based graffiti writer WEST Rubinstein, aka WESTONE, who had made his mark as noted in the book Graffiti Kings, by Jack Stewart and is introduced to the artist by Jansen’s Godmother Florence Parkinson In Manhattan in 1986. WEST inspired Jansen to paint, and Jansen cites their meeting as his first major art inspiration.
  • Gravitating toward the instinctive impulse versus what Jansen sees as regimented academics, he completed high school and at the request of his father, attended the Berufsfachschule, in Monenchengladbach, for one year, where he studied graphic art (Gestaltung). Exposure to photography, design, technical drawing, paint and color gave Jansen an understanding of the basic structure of the arts. He became bored and left, but in European tradition like Willem de Kooning, Jansen began an apprenticeship as a commercial house painter, where he was introduced to oil enamel paints that remain his medium of choice.
  • ​Jansen completed his training and spent time between Maastricht, Netherlands, and Germany. He became friends with the Dutch Caribbean performer Daisy Dee, former host of the German VIVA TV station Club Rotation, in 1987 at the iconic nightclub called The Soul Center in Moenchengladbach, Germany, a stomping ground for American G.I.’s and Hip Hop emergence of the early 1980’s. She became Jansen’s biggest supporter and started to give him graffiti commissions. Traveling throughout Europe, he was exposed to more art and culture visiting cities like Paris, Amsterdam, Brussels and more.
Private Marcus Jansen and PFC Lawrence Gibson Gulf war 1991
1989-1996
  • Not being able to make a living with art, Jansen enlisted in the U.S. Armed Forces in 1989 and was immediately deployed to operation Desert Storm in August 1990. He returned in April 1991 and was stationed, among many other areas, in “Dragon City”, Dharan, close to a devastating missile attack. On February 25, 1991, he witnessed the explosion from his guard duty tower and was flown by helicopter to the frontline battlefield toward the end of his tour, where he saw the devastation left by allied forces. Returning from that tour, Jansen had more questions than answers.
  • ​He was deployed to the demilitarized zone in Korea for a year and after returning where he was introduced to the first time seeing an aerial drone. He underwent art therapy treatment at Walter Reed Hospital, in Maryland where he was stationed for three years. His artwork got the counselor's attention during art therapy classes for PTSD, inspiring Jansen to think about painting again.
  • Jansen is stationed in Germany for his last duty assignment with the 1st Infantry Division in Vilseck, Bavaria where his first art world begin to surface in the barracks he stays in.
  • He discharged and moved in with then girlfriend Michaela Hansen, an economics major from RWTH Aachen University, originally from Greifswald, in former East Germany and begins painting war torn and disenfranchised urban sceneries that are inspired by highlighting the artistic character as well as the economic differences coming from them in the U.S.reflecting on his roots.
No sunshine here 2005
 "disrupted realism" in 2006 (Manekin Pis)
Old Video Footage: Vilseck Germany SGT Jansen with  light studies secretly painting in barracks 1997 before discharge and a new career.

​1997-2003

​Jansen gets married and his wife is his biggest supporter during the first part of his career while he is becoming more critical of U.S. interventions and attitudes regarding foreign policies and undeclared military interventions. He was discharged honorably in 1997 with the rank of sergeant.

His own art career began in the U.S. Army barracks in Vilseck Germany painting secretly while awaiting his discharge peppers and then once discharged he opened a studio in Aachen the same year, arranging a debut exhibition at Aula Carolina. For the first time since his discharge, the exhibition is noted by the Aachener Zeitung. Jansen approached Dr. Annette Lagler, director at the Ludwig Forum for International Art, for guidance, while living only blocks away from the museum. He shared photos of work from 1997 and she gave helpful advice to the young artist.

Jansen’s longtime friend Daisy Dee originally from the Dutch island of Curasao, commissioned Jansen for two works that were later sold to LL Cool J and Babs, cofounder of FUBU clothing and manager of FUBU Europe. He revisited WEST Rubinstein in New York, who was running the successful PNB Nation clothing line from lower Manhattan and encouraged Jansen to continue his art.

Difficulties finding gallery representation in Germany, he decided to leave Aachen and return to his roots in New York City to test his work with a larger international audience while having difficulty holding other jobs. He hopped between the Bronx, Queens and Manhattan, while selling his work on street corners and bartending on weekends in Long Island.

Subway 82, 1997 - signed MEPS
Marcus Jansen on Prince Street and Broadway in Lower Manhattan 1999 
  • ​Jansen set up on the infamous street corner of Prince Street and Broadway with artist friend Carlos Ramsey to sell their works in 1999 and became part of the early group of artists referred to as “Princestreetkings” who displayed their art on the streets of SOHO. It is then that one of his first buyers, Hollywood actor John Ortiz, purchased “Harlem Deli” (30X 40) while filming a movie with Julian Schnabel in Manhattan. He also sold his highest-priced street painting to date for $750 "City Stroll," to now New York art dealer Monya Rowe. He remains on the same street corner for several months before realizing the power of the internet.
  • Considering family life first, Jansen left the street corners thinking he could more affective from online in an early internet era and moved to Atlanta in August 2001 with his then wife. A month later, the September 11 attack took place in New York, where many of his “princestreetkings” friends witnessed the event and left the city.
  • Urban art enthusiast and cultural game-changer in Bed Stuy Brooklyn, Richard Beavers, saw Jansen’s work in an ad in The Source magazine. An MTV employee at the time who Jansen encourages to open an art gallery, Beavers became Jansen's first New York collector and later his art dealer, and appeared in Jansen’s first film. Beavers started selling Jansen’s work nationally, but focused on the Brooklyn community, placing works with NBA New York Knicks all-star Carmelo Anthony and noted collector Peggy Cooper-Cafritz from his gallery on Marcus Garvey Blvd.​
  • Jansen started exploring the global topics and the human condition in the post-911 era in his work, drawing upon his own worldly experiences and parallels between historic and contemporary worlds politics and unbalanced economics using the urban landscape as the stage.​
  • ​In 2003, Jansen’s first son is born and Jansen received his biggest commission at the time from the Ford Motor Company and shows at the Dearborn’, Charles H. Wright Museum, for a display of the Ford Motor Company Paintings, Michigan in Detroit.
  • He moves to Florida with his his family, where he continued working, initially unknowingly not far from where the 20th-century master Robert Rauschenberg resides on Captiva island. Explores economics in urban communities through landscapes.
First cover feature in Los Angeles, 2005 Lifescapes Magazine featuring Jansen's "urban expressionism" nationally.
The swallow's symbol, 30x40."
​ 2007.Permnent Collection: Moscow Museum of Modern Art
“The painter manages to combine the gestural and coloristic freedoms of abstract painting with the literal eloquence and crafts manly precision of naturalistic depictions. Indeed, thanks to the contrapuntal juxtaposition of these two opposing artistic principles, the effects of both the abstract and the objective elements are considerably.”
​
-Prof Dr. Gottfried Knapp Senior Art Critic at Suddeutsche Zeitung 2017.
Workshop 30x40" 2004
"In the late 1940s, Abstract Expressionism developed as an aesthetically pure style, stripped of the political content of 1930s Depression-era art, memorably dismissed by Arshile Gorky as “Poor art for poor people.” That attitude persisted until a counter-reaction set in a generation later, launching conceptual and postmodern art, informed by a progressive, critical viewpoint. Those of us who agreed with the politics also, unfortunately, had to concede that decoding the sometimes convoluted intellectual puzzles was like taking medicine, and not user-friendly enough for the “masses.”
Combining sociopolitical content with visual pizazz, however, can be done. John Heartfield’s anti-Nazi photomontages; Anselm Kiefer’s mythic war-torn landscapes; the anti-imperialist paintings of Manuel Ocampo; Käthe Kollwitz’s powerful prints about class oppression and struggle; and Sue Coe’s scathing eviscerations of the industrial slaughter of animals are all passionate and compassionate. Marcus Jansen belongs to this humane, humanist tradition."

- Artillery Magazine 2017

​2004-2009
  • Jansen had the opportunity to show with his much admired artist Robert Rauschenberg in support of a local Arts for Act charity at the Bob Rauschenberg Gallery in 2004 almost immediately after arriving in Florida, and was introduced to him personally by Grammy-winning musician Kat Epple after Rauschenberg viewed Jansen’s painting and complimented his work at a group show at the Bob Rauschenberg Gallery. Later he would also meet Lawrence Voytek, Rauschenberg's art production director and become close friends and a mentor to Jansen after Rauschenberg's passing in the SW Florida community.
Picture
  • ​The same year, Jansen met art historian and curator Jerome A. Donson. The former director of the famous American Vanguard Exhibitions 1961 that traveled to Europe and included Rauschenberg, Franz Kline, Jackson Pollock, Willem de Kooning and others, discovered Jansen's work after seeing it in a gallery show window that drew him and his wife Naomi in.
  • Donson wrote about the artist's work in Jansen's first French catalog, "Modern Urban-Expressionism, The Art of Marcus Antonius Jansen," in which he called Jansen the “innovator of Modern Expressionism” and compared it with the Ash Can School.
Jerome A. Donson, American Vangard Exhibitions, 1961 Europe.
Jerome A. Donson with Marcus Jansen Alliance for the Arts 2004
Marcus Jansen at Studio working on large works 2010
​​“Marcus is the innovator of Modern Expressionism. What initiated it for him, was the graffiti on the sides of subway trains when he traveled from the Bronx to Manhattan to sell his work on the street. This is somewhat reminiscent of Jackson Pollock learning to kneel with the Hopi Indians and throw sand to make sand pictures. That innovation may have been the beginning of Abstract Expressionism.”

- Jerome A Donson,
​Director of the American Vanguard Exhibitions, 1961

Cyber Surveillance on Wasteland, 108x72" 2009
Sketch on paper 2012
  • Jansen began painting large-scale works in the post9/11 era and was mostly alarmed by the emerging surveillance state in 2008 and 2009 and corporate power structures through later distorted faceless portraits.
  • HIs wife Michaela Jansen is diagnosed with cancer and her last film footage after a two year battle is shot in 2010 for a documentary titled A Painters Allegory.
  • He addressed human concerns during this period through politics, social issues, the patenting of pigs DNA after his sons diagnosis with autism and in 2009, wife’s diagnosis with cancer and had a painting included in the New Britain Museum of American Art permanent collection, as well as the Kemper Museum of Contemporary Art, whose founder, Crosby Kemper, bought three works for his collection. Robert Casterline, co-owner of the Casterline Goodman Gallery, became Jansen’s first international dealer and agent.
Patented Pigs, 48x60", 2008. Permanent Collection: The New Britain Museum of Art
Jansen comments on GMO and Food manufacturing during his wife's struggle with cancer. Sheep with UV, 60x72" 2013.
Jansens's (Yellow) ABSOLUT Blank campaign 2012 by Absolut Vodka
Marcus Jansen's Creeping Obstacle in Kansas on the Cover of New American Paintings, No. 94, 2011
A Painters Allegory Film set with Michaela. Jansen
Sabrina Jansen with Jansen boys Florida
​​​2010-2015
  • Jansen was commissioned by Absolut Vodka, becoming part of the next generation in the tradition of popular of Absolut artists following in the footsteps of Andy Warhol, Damien Hirst and Keith Haring. Chief Curator at the Orange County Museum of Art Dan Cameron selects “Creeping Obstacles In Kansas” for the cover of New American Paintings Volume 94.
  • ​In 2011, the same year, Jansen’s wife and longtime supporter died at age 36 after a two-year struggle with cancer, leaving Jansen with two sons to raise on his own. Emotionally and financially bereft, he restarted his art career from scratch after losing almost everything he had due to endless medical bills​ after the death of his wife. The Naples Museum of Art included Jansen in their annual exhibition (Florida Contemporary) in 2014.​
  • Instead of retreating, he expands opens a large public studio space in what used to be a segregated area in Fort Myers Florida the residence of Robert Rauschenberg, Lichtenstein and artist Darryl Pottorf that permanently changed the local art scene and brought in clients from all the world and the local community together on Martin Luther King Blvd.
Departure to his "Aerial views" series in 2011, seeing landscapes 3D from an aerial view as he witnessed form his Gul War tour in a Helicopter ride in 1991. (The Overseer) on table top, 2011
  • He began departing from two dimensional landscapes and moves to three dimensional tabletops that he calls "Aerial Views" in 2011.​
  • ​He also creates a critical series of anonymous men in suite portraits who’s faces are distorted. He continued to play with a disruptive realism in his works while exploring anonymity and power in these new figures. His first “Faceless” series emerge in 2011 and are released in 2012.
Jansen departs from his landscapes and investigates structures of power and anonymity thorough faceless men in suites in 2011.
Faceless #1, 2012.
​ Permanent Collection: Permm Museum of Contemporary Art, Russia
  • In 2013, Jansen is named a winner of the Arte Laguna Biennale Prize, in Venice, where he was asked to stage a solo exhibition in Italy for the first time. The show was publicized by Rolling Stone, Arte, XL Repubblica, and ESPOARTE
  • Jansen had his first solo show in New York City at the Castle Fitz John’s gallery in the Lower East Side organized by his longtime Brooklyn dealer Richard Beavers. The show “Future Grounds” gains national press art world and attention.​​
  • Street arts leading art authority, Steve Lazarides, invited Jansen to show in London at Lazarides Gallery in 2014 displaying his "Arial Views" for the first time internationally. The show becomes a career changer for Jansen’s international exposure and Jansen is called “A Cartographer of Conflict” in his review by the London press. Steve later also appears in Jansen’s art film documentary Examine and Report and writes the foreword to Jansen’s first Monograph in 2016, Marcus Jansen DECADE.
  • Jansen was later included in various important group exhibitions curated by Lazarides that highlight the galleries roster of artists.
"Art is the new Founding Father," 108x88" 2015 first Faceless Colonialist subject painted in 2015
Faling Empires, 108x88" 2022 - Colonialist subject on horses
We Must Talk about Race and American ColonialismHayida Sewer is a Ph.D. student in the Africana Studies Department at Brown University.
  • In 2015, Jansen diverts from his men in suites portraits to being critically depicting historic colonialist figures and re-examines history in more contemporary terms through his lens of distortion and often mocking previously hailed elite figures and colonialism and the merciless capitalistic foundation it brought a long for people of color at large.
  • Sabrina Gruber, a musician and pianist, became Jansen's partner and primary photographer of the artist in his studios. Her most recognizable photos appeared in the Skira Editore book Marcus Jansen DECADE. Jansen’s London dealer Steve Lazarides, BANKSY’s first agent, invited Jansen for his first solo show titled, "Whistleblower" at the Lazarides Gallery and became Jansen’s UK representative.
In 2018, Jansen created new abstract landscapes blending realism with abstraction, crossing real and fiction on paper in a gestural way that were first published in the Hirmer Verlag Publication AFTERMATH in Munich, Germany. Medium: Spray Paint and Oil enamel.
Marcus Jansen DECADE, La Triennale Di Milano, Museum, Italy 2016
2016-2018
  • Jansen’s father and mentor Hans Jansen, perhaps his strongest academic influence, died four months before Jansen’s first solo museum exhibition in Europe at La Triennale di Milano Museum. The exhibition, “DECADE—paintings from the last ten years,” dominated Italian headlines and critics picked it as one of the top 10 shows to see in Italy next to Basquiat, Monet and others.
  • A headline in EXPOART magazine read, “A New Star is born?” In a review by Italian art critic Igor Zanti. The exhibition is inaugurated by art historian Dr. Elmar Zorn and curated by Dr. Brooke Lynn McGowan and RossellaFarinotti.
  • Jansen's book Marcus Jansen DECADE is published by Skira Editore, in Milan. The 10-year survey of works is released worldwide that includes Jansen’s “Aerial View” series being published, and the first international film is produced by Emmy-winning filmmaker and director John Scoular, who presented Jansen as the subject of the film Examine and Report, to be later shown at a Word Premiere at the Fort Myers Film Festival, winning the title of Best Local Film and East Hampton’s Film Festival where it wins Best short documentary film.
  • ​It highlights the influences that made Jansen's work what it is today; featuring art dealer Steve Lazarides, Robert Rauschenberg's art fabricator Lawrence Voytek, art historian Dr. Brooke Lynn Mcgowan and major Jansen collector Dieter Rampl, chairman of the Hypo-KunsthalleMunich, Noah Becker, founder of Whitehot magazine, NY, WEST Rubenstein and others.
"It is with great sadness that we have learned of the death of Prof. Dr. Manfred Schneckenburger, who gave important impulses to world art exhibition documenta in Kassel with twice being involved. documenta 6 (1977)."
  • German art book publisher Hirmer Verlag Munich published Jansen's first International German/English language book for his German museum tour in 2017 titled Marcus Jansen Aftermath, including commentary by art critic Prof. Dr. Manfred Schneckenburger; two-time Documenta Kassel curator, who referred to Jansen as “one of the most important American painters of his generation”; Prof. Dr. Dieter Ronte, former director of the Kunstmuseum Bonn and Vienna; art critic Gottfried Knapp from the Suddeutsche Zeitung; and art curator Dr. Elmar Zorn.
  • Dr. Birgit Loffler, director of Das Maximum Museum in Traunstein, Germany, introduced Jansen’s work at the Traunstein Klosterkirche, where Jansen showed a series of retrospective works in its last exhibition. He’s later represented by Galerie Kellermann in Düsseldorf, Germany for two years.
Prof Dr Manfred Schneckenburger introducing Jansen's work to Munich 2017 at Kallmann Museum.
Marcus Jansen, Kallmann Musuem , Ismanning Germany 2017
  • Jansen's first Germany held exhibition consisted of 10 large works as a featured artist at the Kallmann Museum Ismanning and a full mid-career survey at the Zitadelle Museum, in Berlin, both becoming the first German museums to celebrate Jansen’s work just before his 50th birthday during a traveling museum exhibition for the artist organized by German curator Dr Elmar Zorn.
  • Robert Casterline and Jordan Goodman, owners of Casterline Goodman Gallery, showed Jansen in a solo exhibition, “Now And Then” in Aspen during the 2018 ArtCrush at the Aspen Museum of Art, where noted collectors Amy and John Phelan purchased his work for their private collection.
  • Jansen’s permanent collection works were highlighted by a museum for the first time in his inaugural U.S. museum feature, “Deconstructing Marcus Jansen,” at the Kemper Museum of Contemporary Art, curated by Jade Powers. Not long after, Jansen was approached by Curator Dr. Gisela Carbonell to show at the Rollins Musuem of Art for his first U.S. solo exhibition in 2020 while setting up his new studio on Martin Luther King Jr. Blvd in downtown Fort Myers a former segregated area which served as a catalyst to change the neighborhoods public image.

2019-2020
  • Jansen was invited to collaborate with France based Street art authority Magda Danysz in Paris for a solo exhibition titled “stop look and listen” and showed at his first two Asian art fairs, Art021, in China, and Teipai Dangdai, in Taiwan, with Galerie Danysz.
  • Jansen officially announced formation of the Marcus Jansen Foundation Fund to help veterans and low-income children in the arts and was commissioned by Pussy Cat Doll lead singer Nicole Scherzinger in Los Angeles the same year organized by his Florida dealer Lisa Burgess.
  • ​The University of Michigan Museum of Art acquired a large Jansen painting, “Hide Out" (84 X 72) for its permanent collection. Jansen had his New York Film Premiere at the East Hampton TV Festival with Marcus Jansen Examine and Report, winning and award for Best Art TV Pilot Documentary, and was featured in an artist profile in The Epoch Times.
  • Jansen returned to his native Bronx New York in 2019 and opened a second studio in the Port Morris/Motthaven neighborhood right before the outbreak of COVID while becoming part of the art community at E.132nd street in the South Bronx.
  • The same year he prepared for his first U.S. solo museum show at the Rollins Museum of Art at Rollins College in 2020 and survey at the Baker Museum, in Naples, Florida, in 2021. His work “Plot #2” (48 x 60)” was placed in the permanent collection at The Alfond Collection of Contemporary Art, Rollins Museum of Art.
  • French Art dealer Almine Rech invites to represent Jansen globally and to present him solo in Paris in 2021 and in London in 2022. The gallery announced global representation of the artist in December 2020.
​
2021-2022
  • After the first two Almine Rech sold-out solo shows in Paris and in London and his first Florida solo Museum show at the Rollins Museum of Art which is highlighted in New York Times Magazine, followed by the Baker Museum, six other shows curated by Almine Rech and Richard Beavers Gallery in Brooklyn all sell out.
  • ​Jansen is highlighted in the New York Times for the second time in a year, while The Bronx Museum becomes the first New York City Museum to acquire Jansen’s work into it’s permanent collection.

2023
  • The Baker Museum includes Behind Walls #3 to its permanent collection after his appearance in his solo exhibition titled Marcus Jansen, Two Decades of Relevance in 2022. Jansen shows in his third solo Gallery appearance at Almine Rech in Shanghai titled "In the Land of Silhouttes," in March of 2023 and is included a latest group show at The Rollins Museum of Art in Orlando, Florida.