Swan Attack, 2025

Acrylic on Canvas

66h x 60w inches

Gathering, 2025

Acrylic on Canvas

66h x 60w inches

Reverie, 2025

Acrylic on Canvas

66h x 60w inches

At The Evergreen, 2025

Acrylic on Canvas

66h x 60w inches

Poppies, 2025

Oil on Canvas

13h x 11w inches

Foxglove, 2025

Oil on Canvas

13h x 11w inches

Phlox, 2025

Oil on Canvas

13h x 11w inches

Primrose, 2025

Oil on Canvas

13h x 11w inches

Bellflower, 2025

Oil on Canvas

13h x 11w inches

Anemone, 2025

Oil on Canvas

13h x 11w inches

Jonas Mekas #8, 2025

Oil on Canvas

13h x 11w inches

Finch, 2024

Monotype with handcoloring on Kozo paper

24.75h x 21.50w inches

Spiral Variée: Sky Blue, 2024

Monotype with soap ground and sugar lift etching on Sekishu paper

26h x 22w inches

Aurora Blue, 2024

Monotype with handcoloring on Kozo paper

27.88h x 22w inches

Moonflowers, 2024

Monotype with handcoloring on Kozo paper

24.50h x 19.75w inches

Anna Kunz was born in Chicago, Illinois, where she continues to live and work. After receiving her BFA from the Art Institute of Chicago, Kunz went on to complete her MFA at Northwestern University, eventually attending the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Her works on paper, paintings, installations, and other compositions have been exhibited in San Francisco, Los Angeles, Chicago, Dallas, New York, Madrid, and Poland. Kunz's work has also been included in numerous public and private collections.

Kunz is the recipient of multiple awards and accolades, including nominations from 3Arts, Louis Comfort Tiffany Foundation, Richard H. Driehaus Foundation, Emerging Artist award from the National Museum of Women in the Arts, Artadia Chicago, Rema Hort-Mann Foundation's Individual Artists Grant, and The Joan Mitchell Foundation in 2020. She has been awarded numerous artist residencies, including the Golden Family Foundation Residency, Edward Albee Foundation Residency, the Space Program at Marie Sharpe Walsh Foundation, the Roger Brown Artist Residency, and, most recently, the Monira Foundation Residency.

Spa, 2020

Felted Wool

60.5h x 51.5w inches

Blue Dog, 2021

Oil on board

51h x 65w inches

Gerangel, 2021

Felted Wool

100h x 117.5w inches

Sonnenfinsternis, 2020

Felted Wool

60.25h x 54w inches

Grobe Taucherin, 2022

Felted Wool

109h x 95.50w inches

Desert Moon, 2025

Felted Wool

107h x 96w inches

The Bet, 2024

Felted Wool

27h x 22.5w inches

Blind Date, 2024

Felted Wool

27h x 22w inches

Transformer, 2022

Glazed Ceramic

4.72h x 5.51w x 4.33d inches

Tony on Marlon, 2023

Glazed Ceramic

5.12h x 3.15w x 9.06d inches

Yogi, 2022

Glazed Ceramic

5.12h x 3.54w x 4.72d inches

Ingo, 2023

Glazed Ceramic

5.51h x 3.15w x 2.56d inches

Pose, 2016

Glazed Ceramic

7.87h x 5.91w x 7.87d inches

Streit, 2025

Oil on Canvas

35.5h x 39.25w inches

Lichtung, 2025

Oil on Canvas

19.75h x 15.75w inches

Explorer, 2025

Oil on Canvas

19.75h x 15.75w inches

With their bright colors and featureless faces, Marlon Wobst's pictures until this point cultivated a charged tension between boisterous activity, and a slightly eery absence of intention. In other words, no object or expectation. Just play. Play is here also a metonym for the act of painting itself. Whereas child’s play is undertaken solely in pursuit of the natural right of pleasure, these paintings undertake the adult variation on this theme; pursuing free play via the unplanned — or barely planned — image, they also take part in a constantly unfolding reminder of play’s human necessity. As the child psychoanalyst D.W. Winnicott put it: “It is creative apperception more than anything else that makes the individual feel that life is worth living.”

Marlon Wobst (B. 1980 in Wiesbaden) graduated as a painter and master student at Universität der Künste Berlin in 2011 with Professor Robert Lucander. In his body of work, which includes oil paintings, felt tapestries, ceramics, and works on paper; he mainly addresses the human existence. He researches typical everyday moments in life, such as getting dressed, exercising, eating, resting or mating; his large scale paintings, the colorful felt works and rather small, intimate ceramics are all glimpses in his, but also human, experiences, rituals and habits. His works are shown internationally in galleries, museums and institutions such as Kunstverein Siegen (Siegen), Kunsthal Charlottenborg (Copenhagen), Kunsthalle Hangelar (Sankt Augustin), Galerie Maria Lund (Paris), Galerie Zeller van Almsick (Vienna), and Galleri Urbane (Dallas). Since 2021, Marlon Wobst has a lectureship for painting at the Universität der Künste Berlin.

Karen Navarro, currently based in Houston, is an Argentinian artist of Mapuche, Guaraní and European descent who works across the mediums of photography, collage, and sculpture. Her work investigates the intersections of identity, representation, race, and belonging in reference to her migrant experience, her Indigenous identity and the history of colonization and its influence. Navarro is interested in the nuances of identity, the constant hybridization of cultures, communication technologies and the concept of beauty aiming to create, through her work, space for acceptance and existence.

Navarro has won the Artadia Fellowship, the Top Ten Lensculture Critics' Choice Award, and the Houston Center for Photography Beth Block Honoraria, among others. And, in 2024 she was an artist in residence at the Atlantic Center for the Arts, New Smyrna Beach, FL. Her work has been exhibited in the US and abroad. Selected shows include Contemporary Arts Museum Houston (CAMH); Artpace, San Antonio; Galerija Upuluh, Zagreb, Croatia; George Washington Carver Museum, Austin, TX; FAR Center for Contemporary Arts, Bloomington, IN; Holocaust Museum Houston; and Melkweg Expo, Amsterdam, The Netherlands. Additionally, Navarro’s work has been featured in numerous publications, including ARTnews, The Guardian, Observer, and Rolling Stone Italia.