Art Miami 2024

Miles Regis

b. 1967 San Fernando, Trinidad and Tobago

In the life and studio of LA-based, Trinidad-born artist Miles Regis, every action is an opportunity for creative self-expression. Prolific in both fine art and fashion design, Regis freely swaps the materials and languages of each to enrich the other. His large-scale mixed media paintings on canvas and linen incorporate dimensional collage elements of denim, buttons, leather, printed matter, sequins, and patches of eclectically sourced found textiles along with his dexterous, gestural, richly hued abstract and figurative painting techniques. Aggressively hopeful and humanistic, Regis embraces a storytelling stance in his stylized renditions of fundamental scenes of love, loss, freedom, survival, activism, and living history.

Tapping into the emotional experiences of exotic cultures around the world and presenting them in ways that are relevant to today’s modernized societies, Regis favors the simplicity of black and white structure, starkly juxtaposed with the complex dimensions of color; recurring motifs include his use of eyes, encouraging the viewer to look deeper. His paintings are often layered with vibrant hues, powerful imagery, text, abstract brush strokes, and purposeful objects the same eye-catching iconography and palette which also appear in his original wearable art. Hand-painted by the artist, each garment highlights a delicately detailed working of both surface and narrative, in the same process that expresses the personal and collective mythologies enshrined in his art works.

During the summer of 2017 Regis made his first foray into the word of artisanal perfume, creating an original series of signature scents developed during a month-long art-and-fashion residency at LA’s Institute for Art and Olfaction. Regis has also been delving into new technologies as an early adopter of the emerging realm of Virtual Reality as a fine art application. One of the main elements in constructing inter dimensional visual worlds based on his art is a painstaking process building the compositional structure layer by layer -- a technique ideally suited to Regis’ established language of painting. The results, which he sometimes pairs with his own original auric electronic beats, are kinetic, vibrating, seductive travels in AbEx hyperspace, and all on their own make the case for VR as a proper tool for all kinds of artists.

Regis and his art was featured in a Ford F-150 Truck national TV commercial in January 2021 and his 15 foot painted art sculpture is now in the permanent collection of the Ford Motor company.

Regis is in the permanent collection of Intel Corporation, Smithsonian National Museum of African American History and Culture, California African American Museum, PAMA in Canada and Senegal's La Musee Borindar; and has appeared in association with CNN, Art Basel Miami, The Coachella Music and Art Festival, CCH Pounder, Million Dollar Listing, Volcom, American Rag Cie, Art For Amnesty, Campaign for Black Male Achievement, Manifest Justice, Adobe, and Tonny Sorenson. Regis has exhibited at Art Basel Miami and The Coachella Arts And Music Festival and has been featured on CNN, Forbes Magazine, The Huffington Post, Extra TV and Ebony Magazine.

Miles Regis is represented internationally by Cynthia Corbett Gallery.

Margo Selby

b. 1977, Eastbourne, UK

Selby is an artist and designer working with colour and geometric form in textiles. She makes handwoven artworks, and oversees the design work of the Margo Selby Studio for mill production and commercial textiles applications – her tenet being ‘Art Into Industry’ – an approach to making art that is akin to that of the ‘Old Masters’ and mistresses, with their expanded studios and public commissions.

Selby uses thread to create abstract geometric artworks that explore repetition and transition, symmetry and asymmetry, the dynamic and the stable. She is interested in the relationship between the body and the machine, hand and industry, craft and technology. The loom, and the disciplined nature of weaving as a practice, provides boundaries and constraints which can be tested. The orderly nature of the craft of weaving is reflected in the developing designs of the artworks. She is satisfied by rhythmic and uniform repetition – where each element of a composition is changed in a methodical progression.

With the exhibition of Cynthia Corbett Gallery and in cerebration of Collect's 20th Anniversary presented Moon Landing —a groundbreaking collaboration between Margo Selby and Helen Caddick debuting at Collect 2024. This project marks Margo Selby’s first site-specific installation, featuring an immersive, suspended handwoven textile alongside an original string composition by Helen Caddick. Set within the Stamp Stairwell at Somerset House, the approximately 16-meter handwoven piece invites visitors to ascend and descend the spiraling stairs, experiencing the evolving abstract colors that mirror the dynamic journey of the music. Margo and Helen's site-specific installation at Somerset House is a stunning fusion of weaving and music, meticulously designed to respond to the architecture of the Stamp Stair. The 16-meter handwoven textile cascades down the spiral staircase, drawing visitors into its intricate play of color, texture, and rhythm. As one ascends or descends, the shifting abstract blocks of color mirror the fluid journey of the music. Inspired by the connection between weaving, mathematics, and music, the collaboration delves into the shared numerical patterns across these art forms. The installation also pays tribute to the women who wove the circuits for the Apollo 11 Moon Landing, with fragments of Navajo and Huguenot weaving traditions woven into both the textile and the score. Complementing the experience, a process-led film and a recording of the music will be available, with live performances at key preview events, offering an immersive exploration of the parallels between sound and fabric.

Margo Selby studied at Chelsea College of Art & Design and the Royal College of Art in London, with a term at Atelier National d’Art in Paris. She now teaches in various institutions, and has her own studio weaving workshops. In 2020, Margo was the recipient of the Craft Council’s Collect Open Award for her large scale textiles installation Vexillum at Somerset House, and, in 2021, the bi-annual Turner Medal for ‘Britain’s Greatest Colorist’. She also gave the Turner Lecture, reflecting on her practice. 2022 saw her showing at multiple applied arts and craft fairs including Collect, London Craft Week, London Art Fair. In 2023, Selby exhibited at Art Miami, British Art Fair and Collect.

In 2024, Selby received several notable commissions. She was co-commissioned by The National Festival of Making and the British Textile Biennial to create a vibrant, celebratory textile installation, immersive in colour, form, and sound—designed to evoke joy and uplift. Situated in the North Transept of Blackburn Cathedral, this site-responsive sculpture reflected the flow of fabric through a factory, with waves and folds mirroring the movement of cloth through machinery. The suspended form began on the cathedral floor, rising to tower 9 metres into the vaulted ceiling, before gracefully descending back down.

As part of the London Design Festival 2024, Margo Selby's striking textile creations were included in the 'Living in a Material World' Exhibition at the Lyon & Turnbull London Gallery.

Margo Selby is represented internationally by Cynthia Corbett Gallery.

Deborah Azzopardi

b. 1958, UK

America has Lichtenstein, we have Azzopardi!’ - Estelle Lovatt FRSA

Deborah Azzopardi acquired her worldwide fame for the joyous Pop Art images she has created over the past 39 years. Her unique and feminine take on contemporary art is best described by the esteemed art critic Estelle Lovatt: ‘America has Lichtenstein, we have Azzopardi!’ Lovatt goes on to comment: “Sometimes you just want to curl up under a blanket. With a good book. A piece of chocolate. A man. This is what Deborah Azzopardi’s pictures make me feel like doing. They are me. They remind me of the time I had a red convertible sports car. I had two, actually. And yes, they are you, too. You immediately, automatically, engage with the narrative of Azzopardi’s conversational visual humour. Laughter is the best aphrodisiac, as you know. ... There’s plenty of art historical references from... Manet’s suggestive ‘Olympia’; Boucher’s thought-provoking... ‘Louise O’Murphy’ and Fragonard’s frivolous, knickerless, ‘The Swing’.... Unique in approach, you easily recognise an Azzopardi picture. ... Working simple graphics and toned shading (for depth), the Pop Art line that Azzopardi sketches is different to Lichtenstein’s. Hers is more curvaceous. Feminine.”

The world is familiar with Azzopardi’s artworks, as many of them have been published internationally. Her original paintings, such as the Habitat ‘Dating’ series (2004/08), the iconic ...One Lump Or Two? (2014) and Love Is The Answer(2016), created by the artist at the request of Mitch and Janis Winehouse as a tribute to their daughter, are in great demand.

Deborah Azzopardi was awarded the Young Masters Focus On The Female Art Created During Lockdown Award 2021 for her work ‘Unabashed’.

Deborah Azzopardi is represented internationally by Cynthia Corbett Gallery.

Crystal Latimer

b. 1988, Hollywood, USA.

“In 2020, I introduced vintage cowboy imagery into my work without fully realizing where my curiosities were rooted. However, this led to creating drawn tapestries composed of vintage cowgirls, cheetahs, florals and plants. An intriguingly odd assortment and definitely NOT AN AMERICAN WESTERN. Rather, I’m alluding to an idea of allowing ourselves, as females, to become untamed. There is such an abundance of breeding within feminine culture; we’ve become accustomed to holding back, playing the supporting roles in history. Our very essence can become erased. Yet, there’s an attitude when it comes to cowboy imagery, a bravado and cavalier connotation that I want to reclaim as female, while cheetahs tie to the idea of being untamed (and nod to the novel by Glennon Doyle). The format of a tapestry also interests me as an allegorical conduit, as it’s historical background is based in “female” and “craft”. - Crystal Latimer

In 2010, Crystal completed her BFA Slippery Rock University and received an MA and MFA from Indiana University of Pennsylvania in 2013 and 2016, respectively. After graduating, Crystal taught several courses at Penn State University and Indiana University and has lectured at Slippery Rock University and Carlow University.

Latimer's work has been shown extensively in both solo and group exhibitions, including at Collect Art Fair, Art Miami, the Pittsburgh International Airport, Pittsburgh Cultural Trust, Pittsburgh Center for the Arts, Chautauqua Institution, The Mine Factory, George Washington University, and Union Hall among others.

Latimer has shown her work internationally in Hong Kong and London and participated in a residency at the Joaquin Chaverri Fabrica de Carretas in Sarchi, Costa Rica. Crystal's work has been featured in Create!, Pikchur, Local Arts PGH, Art Maze, Ruminate, and Fresh Paint Magazines.

Crystal work is included in both private and public collections nationally and internationally: including Indiana State University of Pennsylvania, PNC Corporate, the Benter Foundation, and Wyndham Tryp Hotel.

Crystal Latimer was a finalist for the Young Masters Art Prize in 2019.

Carry On Creativity: A Series of Interviews with Young Masters' Artists: Crystal Latimer

Crystal Latimer is represented internationally by Cynthia Corbett Gallery.

Miranda Boulton

b. 1973, Cambridge, UK.

"My paintings are about the passing of time, they are Memento Mori, reminding us of our mortality and the transience of life. I paint flowers, alive, beautiful, decaying, dying, haunting, life affirming, poignant, reassuring. Always at the height of their beauty they fade away. They cover the monumental and the everyday. My grandfather was an artist, he died before I was born, my grandmother kept his studio the same as the day he died. As a child I use to sneak into his mysterious studio and imagine talking with him about his work. These conversations made me want to paint, to recapture something of him and make it present again.” – Miranda Boulton

For Miranda Boulton painting is an ongoing conversation between the past and the present. She is fascinated by Flower Paintings from Art History, having spent a great deal of time looking at paintings by Morandi, Winifred Nicholson, Manet, Rachel Ruysch and Mary Moser to name a few. She absorbs their work and follows their brushstrokes as if listening in on a conversation. Memories of their paintings are used as the starting point for her own process, searching for a space where she has touched on the feel and presence of a painting from the past. There is an essence of the original, an acknowledgement of a time, place and history all in the mix. Flowers remind us of the fleeting, transient nature of life.

Colours slide and slip around the surface, large sweeping gestures made by hand or brush sit next to layers of impasto paint and carefully painted details. Areas of soft powdery spray paint collide with hard built-up oil paint. The canvas is turned to destabilise and shift the composition, giving fresh perspective to the process.

Boulton thinks of painting as a time-based medium; layers of paint are like age rings on a tree, each holding memories of brush marks and integral to the finished piece. Each painting is an ongoing conversation between past and present, an exploration of new forms from old imagery and narratives.

Miranda Boulton is a contemporary British painter who lives and works in Cambridge, UK. She studied Art History at Sheffield Hallam University and at Turps Banana Art School in London.

Boulton’s solo exhibitions to date include: ‘Lost In The Middle’, Newhall Art Collection, Cambridge, (2012) and ‘Outside In’, Madame Lillies Gallery, London, (2011). She has also exhibited in two-person exhibitions including ‘Double Time’, Arthouse1, London, (2019) and ‘Off Line/On Line’, Studio 1.1, London, (2015).

Notable group exhibitions include: ‘Goddesses on Sea’, Lido Stores, Margate (2023), Hamptons Fine Art Fair, Cynthia Corbett Gallery, USA (2023), ‘The Goddesses’, Terrace Gallery, London, (2023), Expo Chicago, Cynthia Corbett Gallery, USA (2023), British Art Fair, Saatchi Gallery, London (2023), London Art Fair, (2022), ‘Inspire 2022’, D Contemporary, London (2022), ‘This Year’s Model’, (Part II), Studio 1.1, London, (2021) ‘This Year’s Model’, (Part III), Studio 1.1, London, (2021), Royal Academy Summer Exhibition (2016 & 2019), ING Discerning Eye (2021), Young Masters Autumn Exhibition 2022, Young Masters Invitational at the Exhibitionist Hotel (2023-24), and ‘Staged by Nature’, Glyndebourne (2023).

In 2021 she won the Jacksons Painting Prize. Boulton took part in a residency with The Bothy in Glasgow for project titled ‘A Painter and A Poet’ Eigg, Scotland, in 2018, and in 2021 she was artist in residence at renowned department store Liberty London.
Miranda Boulton’s work in many private collections in the UK and internationally.

Miranda Boulton is represented internationally by Cynthia Corbett Gallery.

Klari Reis

b.USA

Klari Reis has invented her own medium, using epoxy polymer (a form of liquid plastic) with many added ingredients including pure pigment, acrylic and secrets. Reis’s design is almost otherworldly, her colours unique and her patterns inventive. Her artwork is both object and fine art and she is at the forefront of innovative use of art resources.

Klari Reis’ new works are imaginative recreations and curious playful inquiries into our place in the world. The artist proposes new ways
of seeing and understanding our natural environment through painting and sculpture, testing the boundaries of logical systems. By considering the contradictory implications of the word natural and exploring the relationships between the human and non-human, Klari embraces possibility through work that is joyful and hopeful.

Klari Reis is an American artist with a Master of Fine Arts (2004) and an Associate Research Fellowship (2005) from the City and Guilds of London Art School. She lives and works in San Francisco and is represented internationally by Cynthia Corbett Gallery.

Klari Reis is represented internationally by Cynthia Corbett Gallery.

Fabiano Parisi

b. 1977, Rome, Italy

“I use only natural light and execute my shootings early in the morning. The colours and chiaroscuro are at their best at this time of day and are left untouched by digital image manipulation software.” - Fabiano Parisi.

Parisi’s photographs have an honesty and integrity that is part of what makes them so inviting. The artist often selects buildings with frescoed walls, which create an illusion of a painterly surface in his photographs and a textural sensibility that belies the photograph’s flat surface. His method highlights the patina of these forgotten places.

The artist prints his work himself onto carefully chosen papers that enhance and maximise his colours and tones. Parisi has a strong relationship to Art History; the subject of the ruin was prevalent in the 18th and 19th Centuries, and interest is still strong today as evidenced by Tate Britain’s 2014 exhibition ‘Ruin Lust’. From painters such as Piranesi to Turner to Constable, Parisi is part of an important genre in art.

Fabiano Parisi began his career as a photographer following a degree in Psychology, coming to photography through a project photographing derelict asylums, which sparked his interest in the abandoned buildings which are the subject of his art practice today.

He has two ongoing series: The Empire of Light and Il Mondo Che Non Vedo (The World I Do Not See). The latter title is taken from a collection of poems by Fernando Pessoa, a hint at the poetic qualities of Parisi’s work.

What is so striking about Parisi’s work is his use of light, his relationship not just to history but to the theme of the ruin in Art History, and the composition and surface of his work. The power of Parisi’s work lies in the strength and command of his image-making, never straying from a strictly symmetrical approach, which allows the viewer to assume his viewpoint within the building, the wide-angle lens giving a sense of depth and breadth, without compromising on detail.

Parisi participated in the 54th Venice Biennale, Italian Pavilion and in Fotografia Festival Internazionale di Roma in 2012 at the Macro Museum.

In 2010 he was the winner of the Celeste Prize International for photography in New York; in 2012 he was shortlist for the Arte Laguna Prize, Venice where he was awarded a special Prize and in 2012 & 2014 he was shortlisted & announced finalist for the Young Masters Art Prize (a not-for-profit initiative presented by The Cynthia Corbett Gallery, London).

Fabiano Parisi was a finalist for the Young Masters Art Prize in 2012 and 2014.

Fabiano Parisi is represented internationally by Cynthia Corbett Gallery.

Alastair Gordon

b. 1979, Scotland, UK

“I don’t seek a view but a sense of place. From here the paintings are developed in the studio to appear as drawing boards and sketchbook work. Oscillating between hyperrealism and intuitive gesture, they both tame and subsume to the wilderness itself.” - Alastair Gordon.

Alastair Gordon is best known for highly illusionistic paintings (rooted in the quodlibet tradition) but he combines his heightened sense of realism with historical notions of intuitive wildness and British wilderness painting. Gordon makes paintings about paintings; works that oscillate between artifact and artifice. We are presented with landscapes as still lives and sketches as completed works. Certain questions emerge about authenticity, the painting process and how we consider notions of landscape today. The veracity of the object is constantly in doubt yet the wild is ever calling.

In making his works Gordon travelled to the outer reaches of the British Isles, undertaking a painting pilgrimage from the heights of the Lake District, depths of Caithness peat flows and furthest reaches of the Outer Hebrides. Sitting atop mountain peaks and sinking into peat bogs each work begins in the landscape.

Alastair Gordon is a London based artist and tutor and a course leader for the Graduate Residency Scheme at Leith School of Art, Edinburgh. Last year, Alastair was artist in residency for City and Guilds of London Art School followed by a parallel residency with PADA Studios in Lisbon. He studied for a BA (Hons) in Fine Art Painting at Glasgow School of Art, graduating in 2002. He later studied MA in Fine Art at Wimbledon School of Art in 2012.

Alastair’s solo exhibitions include Quodlibet, Aleph Contemporary, UK (2021), Without Borders, Aleph Contemporary, UK, (2020). Alastair's first solo museum exhibition opens at An Lanntair Art Gallery, Stornoway, Isle of Lewis in late May 2024.

Notable group exhibitions include: LA Art Show, Cynthia Corbett Gallery, Los Angeles (2024), Art Miami, Cynthia Corbett Gallery, Miami (2023), British Art Fair, Cynthia Corbett Gallery, London (2023), Expo Chicago, Cynthia Corbett Gallery, Chicago (2023), Here After, Bridge Projects, Los Angeles, (2022), Unpacking Gainsborough, Cynthia Corbett Gallery, London (2021), The Long Echo, Terrace Gallery, London (2021), The Just, Aleph Contemporary London, (2020), The Collectors Room, JGM Gallery, London (2020), London Art Fair, Cynthia Corbett Gallery, London (2020), Summer / Winter Exhibition, Royal Academy, London (2020). In 2024, Alastair Gordon was featured in the 'Tales from the North: Contemporary Painting from the Glasgow School' Exhibition in Marylebone, alongside Elaine Woo MacGregor, showcasing works that explore the intersection of painting and narrative.

Alastair was the inaugural winner of the Shoosmiths Painting Prize in 2014 and co-recipient of the Dentons Art Prize. Gordon has been shortlisted for the Denton Art Prize, 2020.

Gordon’s work is found in numerous prominent private and public collections including Beth Rudin DeWoody, New York; Simmons and Simmons, London; Ahmanson Collection, Los Angeles; Landmark PLC, London; Bow Arts Trust, London; The Royal Bank of Scotland Collection, Rudolph Blume Foundation, Houston, Texas, and The Glasgow School of Art Alumni Collection.

Alastair Gordon is represented internationally by Cynthia Corbett Gallery.

Isabelle Van Zeijl

b.1978, Netherlands

In a contemporary art world that condemns beauty as camouflage for conceptual shallowness, championing high aesthetics is nothing short of rebellion. Dutch photographer Isabelle Van Zeijl takes female beauty ideals from the past, and sabotages them in the context of today. As a women she experiences prejudices against women; misogyny in numerous ways including sex discrimination, belittling/violence against women and sexual objectification. Van Zeijl aestheticises these prejudices in her work to visually discuss this troubling dichotomy, presenting a new way of seeing female beauty. An oppressive idealisation of beauty is tackled in her work through unique female character and emotion.

Van Zeijl is invested in her images. By using subjects that intrigue and evoke emotion, she reinvents herself over and over and has created a body of work to illustrate these autobiographical narratives. Her work takes from all she experiences in life - she is both model, creator, object and subject. Going beyond the realm of individual expression, so common in the genre of self-portraiture, she strives to be both universal and timeless.

Isabelle Van Zeijl, born and based in the Netherlands is an internationally acclaimed Fine Art Photographer. She was nominated for the Prix De La Photographie Paris, The Fine Art Photography Awards and was one of the winners of The Young Masters 2017 Emerging Woman Art Prize, London. Her work is held in prominent private & public collections in the USA, Europe, UK, Australia and Asia.

Isabelle Van Zeijl is represented internationally by Cynthia Corbett Gallery and was the winner of the Young Masters Emerging Woman Art Prize in 2017.

Cristina Schek

b. Transylvania

Cristina Schek is the photosensitive kind. She thinks in pictures; her imagination is always in focus. A Transylvanian Surrealist now rooted in London, Schek crafts conceptual work that explores identity and the nature of representation, with literature, films, and art history as her muses. Her true passion lies in storytelling—venturing into the unknown, layering, and crafting images into creative compositions.

'Diving Upwards' Series

"Everything real begins with the fiction of what could be. Imagination is therefore the most potent force in the Universe. Imagination is 'Diving Upwards'! And you can get better at it. It's the one skill in life that benefits from ignoring what everyone else knows. Over the long term, the future is decided by optimists. To be an optimist you don’t have to ignore the multitude of problems that arise, you just have to 'Dive Upwards' and imagine how much your ability to solve problems improves." Cristina Schek

"In my mind’s eye, I see carefully choreographed women and the sky-high lunar cycle of the Moon being celebrated. For (e)very good reason. The Moon’s gravity stabilises us. This image is an inspirational message; dream big and take chances. More than synchronised swimmers or water ballerinas, it’s Sisyphus rolling with huge stones as big as your troubles. Push giant rocks up the steep incline of life symbolising suffering, heaven forbid heaven bound, because you are strong enough. To wear a Titian-like shade of red swimsuit and bathing cap, a figure hugging skin-tight illusion of being naked, almost. Surely.

Rise up, propel yourself high. Believe. Nothing. Nothing is in the way to stop you. We are all capable of being top flyers, diving upwards and flippin’ hell. Being over the moon… The saying “Over the Moon” is used to describe how it feels when feeling extremely pleased and very, very, happy. Skyrocket, soar, fly. The sky isn’t the limit, since man walks on the moon, right? Right! More than a picture-maker, Schek is a visual influencer." Estelle Lovatt FRSA

Schek's portfolio is celebrated on a global scale, highlighted by prestigious exhibitions and art fairs such as the London Art Fair, Art Miami, NY Art Fair, LA Art Show. Her notable achievements include Young Masters Focus On The Female Art Created During Lockdown Award 2021 for her work 'Florence Lightingale', receiving recognition at Phillips Auction House with the BFAMI Art Exhibition 2022 and winning the W4 Fourth Plinth with 'The Ceiling In The Sky' monumental 4x4m public art installation in 2023. This prestigious recognition follows in the footsteps of Sir Peter Blake, whose artwork was the inaugural work on display.

Andy Burgess

b. 1969, London, UK

Innovative 'Hybrid' Screenprints: A Fusion of Modernist Architecture and Handcrafted Excellence debuting at British Art Fair

Burgess has a long history of printmaking, having completed postgraduate work at The London College of Printmaking and two residencies at the prestigious Tandem Press in Madison, Wisconsin, where he worked on woodcuts, etchings, and lithographs. Burgess’s prints are held in the collections of The Chazen Museum, Madison MOCA, The Jordan Schnitzer Family Foundation, and Delta Airlines, among others.

2024 sees the launch and debut of new 'hybrid' screenprints created by artist Andy Burgess in collaboration with the renowned London printmaking studio 'Jealous', known for their work with internationally acclaimed artists such as David Shrigley and Jake Chapman and collaborations with institutions such as The Tate Gallery and The Victoria and Albert Museum. In recent years, he has been searching for a way to translate his highly sought-after modernist architecture paintings and collages into 'multiples', while preserving the unique handmade quality of each artwork. With the 'hybrid' printmaking technique that Jealous Studio specializes in, this is now possible. Editions are limited to 15 prints of each image.

Andy Burgess is represented internationally by Cynthia Corbett Gallery.