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Swiss artist Andy Denzler is storming the art market this Spring. From an exhibition at Opera Gallery in New York, to Art Paris and back home again for a private studio tour with Galerie Peter Kilchmann, in conjunction with Zurich Art Weekend. Known for bending time, Denzler took a moment to tell us about what makes him tick. 

In a world defined by constant motion, political turbulence, and digital noise, the desire to slow down and restore mental balance has become more pressing than ever. But what if we could stop time entirely? What would the shift from activity to stillness look like? How would the frozen blur of color and motion impact us? These questions come to mind when engaging with the work of sculptor, painter, drawer and printmaker Andy Denzler.

This month, Denzler’s solo exhibition Hybrid Souls at the Opera Gallery, is an exploration of digitalization and AI in the world around us. With “a filter of blurred movement,” Denzler uses alternating bands of sweeping, horizontal brushstrokes to create striking paintings that invite us to face humanity’s struggle to redefine itself in the digital age. “I try to hold up a mirror to society,” says Denzler. “Questioning things can be very delicate nowadays, but this is precisely the duty of creatives. In this sense, Hybrid Souls is not just an exhibition, it is an invitation to self-reflect on where technological progress is leading us in this post-human era.” 

The show’s collection of twenty paintings comprise a series of paintings of solitary figures called Distorted, and another series of group portraits named Collision. The former encourages viewers to self-reflect, as the latter captures the collective turbulence of our digital existence. Using his signature distortion technique, Denzler creates a unique intersection between nostalgic photorealism and gestural abstraction. Emotion bleeds from strokes of impasto oils; crystallizing fleeting moments of time, anguish, and collective memory. “I connect every medium through a visual language that has taken decades to create,” says the artist. “I am a painter, even when I work like a sculptor; building up layers with heavy impasto oils on canvas. The sculptures nourish the paintings with their texture and fragmentation.”

Denzler typically works from his own photographs, using his studio as both a backdrop and stage for his paintings. For Hybrid Souls, however, he combined his photography with collages of found images and AI-generated prompts. “Figurative painting has always retained an abstract aspect,” says Denzler. “It continues to be strongly influenced by photography, film, multimedia and, now, even AI-generated prompts.” Once he began painting, Denzler concentrated on “mark-making and embracing an experimental physical approach to my work.” 

A Master’s alumnus from London’s Chelsea College of Art and Design, Denzler lives and works in Zurich. Today, his solo and group exhibitions have been shown at renowned institutions such as the Denver Art Museum, the Moscow Museum of Modern Art, and the White House in Washington DC, to name a few. Denzler first encountered contemporary art at sixteen years old. “This was when I had the opportunity to photograph original works by Jean-Michel Basquiat, Warhol, Clemente and Schnabel for the Swiss art dealer Bruno Bischofberger,” he says. By his early twenties, the creative had mastered photography and graphic design, before experimenting with electronic music-inspired painting. 

“I started creating my first abstract paintings in my studio during the 1990s,” Denzler explains. “I was influenced by New Media, as well as my interest in American Abstract Expressionism and the Zurich Concrete painters like Max Bill, Camille Graeser and Paul Lohse.” In 2003, the artist “felt the need to work conceptually and narratively,” and transformed his previously non-representational art into figuration. Two years later, and the art world witnessed Denzler’s first solo exhibition in New York. Named American Paintings, the show took the city by storm with portrayals of the entire Bush administration,the  Statue of Liberty, Capitol Hill and Martin Luther King.

To explain his practice, Denzler refers to Mamoru Oshii’s animated cyberpunk film Ghost in the Shell (1995). “I explore themes of identity, artificial intelligence and the fusion of human consciousness (ghost) with technology or machine (shell).” With this in mind, he imagines a world where minds can be transferred into cybernetic bodies. “These visions of societal transformation and collective identity pulse throughout my work,” Denzler says. Through his figurative depictions of vulnerability, “we see a struggle for connection, the merging of physical and digital selves, and the search for meaning in an age of overwhelming change. The figures are caught in the act of becoming- part human and part digital echo.”

More information about Andy Denzler can be found at andydenzler.com.

words. Raegan Rubin

From April 18 – 20, Art Dubai 2025 is welcoming the international art scene to a thrilling programme of exhibitions, talks and installations. Chief among the artists exhibiting is the celebrated Ghanaian artist Kojo Marfo together with JD Malat Gallery Dubai. As a leading global platform for contemporary art, Art Dubai is a prime location for Marfo’s cross-cultural work, and signature fusion of Afro-Surrealism, Old Master techniques, and Cubism. Or, as Marfo calls it, AfroGenesis. Here is all you need to know about Marfo’s exhibition HOME: Heart of My Existence and other highlights from Art Dubai.

For his first solo exhibition in the United Arab Emirates (UAE), Marfo’s HOME: Heart of My Existence reimagines the home as a portable space shaped by memory, emotion, and personal understanding. Rather than being a static form, the artist’s concept of home is malleable and transformative. The exhibition comprises thirteen monumental works, each layered with vibrant colour palettes that engage with the emotional and psychological landscapes they represent. Notes of self-reflection bleed from the canvases; inviting art enthusiasts to reflect on the meaning of home in their own lives. 

The collection’s poignancy echoes an introspective shift in Marfo’s practice. Reflecting on his place in the world, the pieces delve into the complexities of the human condition. They touch on themes of community, personal history, and the forces that sculpt our sense of self. “Home is the heart of my existence,” says Marfo. “It reflects the things I’ve been through, my experiences, and my emotions. It is not necessarily the four-cornered building we live in; it is what goes on in our hearts and minds.” 

From Akan artifacts, sculptures and carvings in Ghana to New York’s graffiti scene and rich African art collections, Marfo’s practice takes inspiration from his travel experiences. The London-based artist has coined his style AfroGenesishis: a unique blend of African traditions and Western artistic influences. “AfroGenesis is about creating something new from what has come before,” Marfo explains. “It’s a way of taking ideas from different places and making them my own.” 

While deeply personal and rooted in Ghanaian heritage, Marfo’s bricolage of techniques speak of a universal desire to define one’s own identity, allowing his works to resonate with a global audience. Themes of diaspora, migration, and cultural identity connect viewers to the shared experiences of people across the world. It’s therefore fitting for the artist to contribute to Art Dubai and the UAE’s growing cultural landscape. Both the artist and art fair champion the fusion of tradition and modernity, and are presenting an opportunity for cultural exchange between Africa, the UAE, and the wider world. 

Known for its diverse programming and commitment to showcasing emerging voices alongside established artists, the fair serves as an important cultural hub in the Middle East. Beyond Marfo’s solo exhibition, the Art Dubai features a wide array of compelling presentations and sections. Participating galleries include: LACMA, Agial Art Gallery, DAG, Lawrie Shabibi and Richard Saltoun Gallery. 

One of the highlights of Art Dubai is a section curated by Mirjam Varadinis called Bawwaba, meaning “gateway” in Arabic. This year’s curatorial theme asks: “How can we imagine new forms of coexistence, both amongst people and with our planet?” To answer, Varadinis will present ten solo artists who address displacement, environmental challenges, and new models of living together in a rapidly changing world.

Meanwhile, Art Dubai Digital explores the intersections between new media, technology, and contemporary culture. Curated by Gonzalo Herrero Delicado, the 2025 edition: After the Technological Sublime, examines how digital technologies are reshaping the boundaries of art. Through this section, audiences are invited to reflect on the ways in which technological advancement both inspire wonder and provoke anxiety in the face of environmental and societal challenges. Elsewhere, the Modern section will focus on modern masters from the Arab world and beyond. Curated by Magalí Arriola and Dr. Nada Shabout, this section celebrates artists who navigated the geopolitical, cultural, and social challenges of the 20th century. 

Art Dubai 2025 promises to be a vibrant celebration of contemporary art, with Marfo’s HOME: Heart of My Existence standing as a powerful statement on the evolving nature of home, identity and personal history. As the UAE’s cultural landscape continues to grow, Art Dubai remains an essential platform for artists, collectors, and audiences alike to engage with the art of our time. 

Art Dubai is running from April 18 – 20 Click here to purchase tickets and discover this year’s array of participating artists.

words. Raegan Rubin

In the heart of London, the Victoria and Albert Museum is preparing for what promises to be one of the most dazzling cultural events of the Summer: the UK’s first major Cartier exhibition in almost thirty years. Running from April 12 to Nov 16, this extraordinary showcase will span more than 350 of Cartier’s iconic pieces, offering a rare glimpse into the fascinating world of one of the most celebrated jewellers in history. The exhibition will not only trace the evolution of Cartier but also highlight the Maison’s influence on art, culture, and design. In the words of Netflix’s popular period melodrama ‘Bridgerton’ – this may be the diamond of the year.

Coincidentally, ‘Bridgerton’s’ epoch of royals and aristocrats reflect the calibre of Cartier’s clientele since the early 20th century. The V&A exhibition features a variety of pieces sported by debutants and members of the royal family. The 1953 Williamson Diamond brooch, for instance, was commissioned by Queen Elizabeth II. While a stunning ceremonial necklace (merging Indian jewellery tradition with Art Deco modernism) was created for the Maharaja of Patiala. 

While Cartier’s journey began in 1847, it was not until its founder’s grandsons–Louis, Pierre, and Jacques–took over the family business in the early 1900s, that the Maison transformed into a global icon. With a keen eye for beauty and an innate sense of artistry, they propelled the firm into the rarefied upper echelons of society. Known as “the jeweller of kings and the king of jewellers,” Cartier’s creations became synonymous with luxury, elegance and exclusivity.

In lieu of this, the V&A kicks off its exhibition with an exploration of the Cartier brothers’ shared vision and ambition. Visitors are told how their design and business strategies enabled Cartier to transcend borders and establish an international presence in Paris, London and New York. A notable piece within this first section is the majestic Manchester Tiara commissioned in 1903 by Consuelo, Dowager Duchess of Manchester–an exquisite gold, silver and diamond symbol of Cartier’s creativity and enduring legacy.

The Maison’s ability to adapt and redefine contemporary design played a significant role in its continued success. Cartier’s workshops became legendary for their excellence, producing some of the most intricate and stunning jewels the world has ever seen. In respect of this, a section of the exhibition delves into the technical side of Cartier’s design process, from the cutting of gemstones to the assembly of its iconic pieces.

With a sharp eye for design and a love for the decorative arts, the firm’s pieces often drew inspiration from around the world. Early 20th-century designs incorporated influences from French architecture, Indian craftsmanship and ancient Egyptian motifs. For instance, Cartier London’s scarab brooch (featured in the exhibit) is an intricate piece combining colourful, calibrécut gem-set wings with a coral and emerald Art Deco composition (1925). Another exhibition focal point is Cartier’s delicately romantic ‘Garland Style.’ An aesthetic originally inspired by 18th-century French designs, it’s now synonymous with the Maison’s blend of lightness and femininity. 

Cartier’s technical expertise is also highlighted through the inclusion of rare and extraordinary gemstones, many of which were sourced by Jacques Cartier during his travels to India, Sri Lanka, and the Middle East. From the rarest rubies to the largest sapphires and historic diamonds, some of the most precious gems in the world have passed through the hands of Cartier’s craftsmen. Keep an eye out for the amethyst and citrine jewels that were fashionable in the 1930s!

A standout in this section is the panther motif, which became one of the Maison’s most recognizable symbols. The motif first appeared on a wristwatch in 1914–the earliest example of the panther skin pattern used in a Cartier creation–which is displayed alongside a 1978 panther bracelet of pavé diamonds set with onyx. Speaking of watches, the exhibition’s curators have gathered a healthy collection of ticking pieces, including the whimsical Crash wristwatch, whose design in 1967 was influenced by the artistic freedom and nonconformity of Swinging London. Through these timepieces, visitors can observe Cartier’s commitment to functionality and design in equal measure. 

What sets Cartier apart is its ability to craft an image of sophistication, luxury, and elegance. By the turn of the century, it had become a household name emblematic of glamour and prestige. As the exhibition progresses, visitors will see how the firm expertly shaped its public image through pioneering marketing strategies. From showcasing its creations at international expositions, to lending pieces to high-profile figures in society and entertainment like film stars María Félix and Grace Kelly (whose 10.48-carat diamond engagement ring is an exhibition centrepiece).

Curators recognize how the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris was a landmark event for the firm. Cartier was notably the only jeweller displaying its creations alongside leading couturiers in the Pavillon de l’Élégance. This moment signified the brand’s seamless integration into the world of high fashion, and set the stage for Cartier’s future success.

For the exhibition’s grand finale, curators have collated a breathtaking display of sparkling tiaras. Cartier’s expertise emanates from masterpieces like the opal tiara, commissioned in 1937 by Mary Cavendish. In 1953, the Art Deco head-piece was inlaid with large black opals and was later worn by the Dowager Duchess of Devonshire at Queen Elizabeth II’s coronation. Another guest, Clementine Churchill, attended the occasion wearing Cartier’s Scroll Tiara–crafted in the Garland Style, it’s a halo of bold, open scrollwork (hence the name) decorated with over 1,040 diamonds. The piece was later by Rihanna on the cover of W Magazine (2016), and is now on display at the exhibition.

On par with Cartier’s legacy of art collaborations, the exhibition has been designed by British architect and multi-disciplinary artist Asif Khan MBE. With an eye for sensory experiences and aesthetics, Khan is a participating artist in the Islamic Arts Biennale 2025 and was awarded an MBE for “Services to Architecture” (2017), and the FX award for outstanding contribution to Architecture (2024). For the exhibition, the creative “wanted our collaboration to be a dreamscape where art and science converge, with Cartier’s pieces suspended in light, time and sound, allowing history to breathe and the future to linger.”

Meanwhile, exhibition curators Helen Molesworth and Rachel Garrahan have said: “Cartier is one of the most famous jewellery houses in the world. This exhibition will explore how Louis, Pierre and Jacques Cartier, together with their father Alfred, adopted a strategy of original design, exceptional craftsmanship and international expansion that transformed the Parisian family jeweller into a household name. We are excited to be able to share with visitors some of Cartier’s most famous creations as well as revealing previously unseen objects and archive material that further enriches our understanding of a jewellery house that continues to influence the way we adorn ourselves today.”

 The Cartier exhibition is a journey through more than a century of artistry, design, and technical mastery. From the early days of the Cartier family business to the heights of global recognition, this exhibition paints a portrait of a Maison that has shaped not just the world of jewellery but the very definition of luxury. With pieces that have graced the necks of royals, movie stars, and influential figures across the globe, Cartier’s legacy continues to shine brightly. It reminds us that beauty, craftsmanship, and innovation are timeless.

The Cartier exhibition runs from April 12, 2025, to November 16, 2025, at the V&A, South Kensington. For more details, visit the official exhibition page.

words. Raegan Rubin