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NEO NUEVA YORK
9 May @ 08:00 - 25 Jul @ 17:00
NEO NUEVA YORK
09MAY / 25JUL · 2025
NEO NUEVA YORK
Curated by Atelier Las Amazonas
Elliot Purse | Jeremy Olson | Jordan Doner | Krista Louise Smith | Zachary Lank
YUSTO / GINER presents, in our space in Madrid, the group exhibition Neo-Nueva York by artists Elliot Purse, Jeremy Olson, Jordan Doner, Krista Louise Smith and Zachary Lank, curated by Atelier Las Amazonas.
Yusto / Giner is pleased to present Neo-Nueva York, a transatlantic group exhibition exploring the evolving pulse of New York’s contemporary visual culture.
What does the next chapter of New York’s art scene look like—and who’s writing it?
Neo-Nueva York seeks to answer this question through five artists whose practices reflect the city’s relentless energy, cultural hybridity, and artistic unrest. The exhibition was born from a moment of pause: After three years immersed in New York’s art world, junior gallery owner Clio Giner returned to Madrid with a question still echoing—Is there a new New York school of art?
Clio turned to curator Atelier Las Amazonas, who put together a group of NY based artists to flesh out this concept. Together, their works offer more than a snapshot—they deliver a transmission from a city in flux. Neo-Nueva York captures New York’s “now”: messy, magnetic, and moving too fast for labels. The exhibition invites Madrid audiences to see the city’s creative language through a new lens—one that’s distant enough to sharpen the view, yet intimate enough to feel the static in the air.
By lifting these works out of their native context and situating them within a European framework, Neo-Nueva York becomes both mirror and magnifier—examining how artistic practices born in one metropolis resonate in another, and how cultural translation transforms both image and meaning.
ELLIOT PURSE
Purse’s large-scale charcoals stem from a revisitation of his childhood fascination with wrestling, exploring the contrast between the sport’s glorification of brute strength and the fragility of charcoal on paper. Works like “Bust III” (2019) and “Limbs II” (2023) evoke black-and-white photorealism from afar, yet reveal loose, intuitive mark-making up close. Later, Purse overlaid material studies—such as Carrara marble textures—onto hyper-muscular bodies drawn from bodybuilding and wrestling culture, as seen in pieces like “Toppled” (2023) and “Marble Fragment” (2022).
KRISTA LOUISE SMITH
Smith’s work exists in a dual state, functioning simultaneously as portrait and landscape without fully settling into either. Pieces like “Baby Blue Sea” (2024) and “Halo” (2024) express her inner feminine self while also evoking the expansive skies of the American Southwest, maintaining a non-abstract yet atmospheric presence. Her works suggest quiet intimacy—like a whisper in a loud room—favoring emotional proximity over performative expression. Often drawing on-site in pastel at twilight, Smith immerses herself in the landscape, echoing O’Keeffe’s influence. In “Platform 2” and “Platform 4” (2024), handmade frames, color-matched to the paintings, ground the ethereal compositions in physical form.
ZACHARY LANK
Lank consciously studied commercial art techniques, drawn to the now-archaic and often dismissed practice of illustration. A native of the Appalachian region, he cites influences like Howard Pyle, Winslow Homer, and Andrew Wyeth. Works such as “Doppelganger”, “Firestarter”, and *Hangup* (all 2025) blend the visual language of Hudson River School painting, 19th-century Appalachian art, surrealist space, and the critical lens of artists like Jim Shaw and Mike Kelley. After an initial conversation, Lank revealed that the work is shaped by the murder of his grandfather, aiming to process, memorialize, and even bring humor to that trauma. Across his work, the familiar tools and symbols of Appalachian life appear—yet the human figure is always absent, making that void the emotional and visual center of the compositions.
JEREMY OLSON
Olson’s paintings—landscapes, portraits, and still lifes—are based on his own digitally rendered fictions, shaped by his background in commercial art. Works like “Icon”, “Late Harbinger”, “Replacement Omen”, and “Soloist” (2024) depict digital still lifes scaled to human proportion, evoking fragmented classical busts with echoes of Dubuffet, Boccioni, and Oldenburg. These pieces inhabit speculative, hybrid domestic spaces populated by humanoid-reptile figures, referencing Cronenberg’s “body horror” and exploring the uncanny implications of biotech and self-creation within familiar, yet otherworldly, interiors.
JORDAN DONER
Doner’s “faux master drawing” series, begun in 2020, draws on his commercial photography background and references Rococo and Gothic artists like Boucher, Watteau, and Schongauer, blending classical aesthetics with neo-pastoral and contemporary low-fi imagery such as Manga CGI or B-movie stills. Rendered in charcoal and pastel, these works mimic the polished finish of commercial outputs. For *Neo Nueva York*, Doner incorporates digital tools and astronomy-inspired references, exploring intimacy with both animal subjects and historical artists. Works like *Fruit Bat Study I & II* and *Gang of Four via Kirchner’s Berlin Street Scene* scale nature to human proportions, merging fruit bat imagery with Kirchner’s expressionist palette in a creative exercise akin to fashion’s cyclical reinvention.
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