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Profile: Imo Nse Imeh. @Joey KennedyThe Sacred Body of Becoming
A Conversation with Dr. Imo Nse ImehAmerican Nigerian artist Dr. Imo Nse Imeh presents his current exhibition, The Sacred Story of Becoming, which opened at Ronewa Art Projects on December 18, 2025. His artistic practice explores themes of spirituality, cultural identity, memory, and the human figure through drawing, painting, and mixed media.
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Artist Myriam El HaïkMyriam El Haïk is a Moroccan-French visual artist, composer, and performer. The links between music and visual art take center stage in her work. Her artistic language is based on simple signs, patterns, or actions, transposing her repetitive and minimalist musical compositions into drawings, performances, videos, installations, and sculptures.
We talked to Myriam El Haïk about her new series of drawings 'Rugs, Color Fields Series' and about the two core inspirations for these works: Moroccan rugs and minimalist color field painting. -
Portrait of Michael Dell at Ronewa Art Projects, 2024. Courtesy Ronewa Art Projects. Image credit: Jeremy KnowlesFrom June 20th to July 25th, 2024, New Zealand artis Michael Dell will be showing a new series of mesmerizing abstract paintings and drawings at Ronewa Art Projects in the exhibition Distant Pictures. We chatted with Dell about the cinematic inspiration for this series, his process-led approach to art-making, and the fine details contained in the remnants of this process.
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Saša Pančić. Photo credit: Nebojša Babić.Membranes:
An Interview with Saša PančiċI recently talked with Serbian-based artist Saša Pančić about his exhibition at Ronewa Art Projects in Berlin entitled "Membranes." The exhibition runs until December 21, 2023, and features three distinct series of ink drawings: "Semantic Shadows," "Liminality," and "Beyond the Horizon."
Roger Washington: The title of your exhibition, "Membranes," explores the metaphor of membranes as selective barriers that protect and define physically and symbolically. Could you elaborate on how this concept translates into your art and how it challenges viewers to consider hidden layers of reality?Saša Pančić: The exhibition's title, "Membranes," has symbolic meaning derived from the artwork's language - its flatness and imaginary depth. I have always been fascinated by the creation of the physical world; why do certain forms in nature have this specific look? On the other hand, for me, a painted picture (or drawing) is beyond the concept of representation; it has the essence of a particular language and is the perception of different dimensions and interactions between external and internal, physical and psychological, historical and super-historical.
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Profile pic: Clara BertaPainting is a Dance: An Interview with Clara Berta
Berlin, GermanyAhead of her solo online exhibition, Ronewa chatted to Hungarian-American artist Clara Berta about her new series of works ‘Blue Confgurations.’ Berta shares insight into her creative process that brings together intuition, movement, and inspirations from nature that give her gestural forms an organic quality.
The online exhibition ‘Blue Configurations (Paper) Series’ is live in the Ronewa viewing room from February 14 to March 14, 2022. Read the exhibition press release here. -
Season: Fictional Plant 26, 2020, Pencil and watercolor on assorted paper, 29.7 x 21 cm, Signed and dated (Unframed).A Glimpse Inside the World of Mireille Gros
Berlin, GermanyWith one week to go before Mireille Gros' online exhibition opens, I had the pleasure of chatting to the Swiss artist about her ongoing botanical drawing project. Gros shared insights on her relationship with nature, her artistic process, and her new series created for the Ronewa Online Viewing Room.
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Photo credits: Annelies Strba — Location: Arcegnio, Monte Verita, Ticino, SwitzerlandAn Interview with Mireille Gros in 2001
Marie-Laure BernadacAn Interview with Mireille Gros by Marie-Laure Bernadac - 2001
Marie-Laure Bernadac: this color book carries the name of the exhibition “émergence“. It contains many different drawings that were compiled and pasted in its pages.
Mireille Gros: I use them to prepare the exhibition, to develop my vocabulary of forms.
MLB: some of the motifs are quite different from the plant and vegetable motifs so characteristic of your work. The compositions, too, are different. There are fewer single subjects, the pages are fuller, some even entirely covered with tiny cells.
MG: A reduction took place. When you look through a microscope or a telescope you often see a similar picture. I don’t differentiate between abstract and figurative drawing. By changing my position and thereby my perspective, I’m freer. Near meets far.