Yossi Milo at Untitled Art Miami Beach | December 2 - 7, 2025

Untitled Art
December 2 - December 7, 2025 | Booth A56
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info@yossimilo.com
Pierre Knop

Pierre Knop's (b. 1982; Nancy, France) paintings convey a childlike fantasia, depicting idyllic mountainous landscapes, boxing gyms, classic pubs, and calm seascapes with rich, swirling colors and a deliberate flattening of perspective. Approaching the canvas as both a sketchbook and a painting, the artist combines multiple mediums to render enchanted scenes that are inspired by his natural surroundings and personal memories. This loose and playful creative process, complicated by decidedly Expressionist and Post-Impressionist influences, opens interpretation of each painting to multiple storylines and moods.

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Pierre Knop (French-German, b. 1982)
Untitled, 2025
Oil, Acrylic, Ink and Oil Pastel on Canvas
55 1/4" x 63 1/8" (140 x 160 cm)
Unique
(PK.25501)

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Ritsart Gobyn

At first glance, the paintings of Ritsart Gobyn (b. 1985; Ghent, Belgium) appear to be a random collection of traces of a creative process. Paint splatters, spray paint, and smears cover unprimed pieces of linen, on which all kinds of collage elements such as pieces of tape, colorful snippets, or post-its are attached. The temporary character of the tape and the seemingly careless arrangement of these fragments suggest a sense of incompleteness — an incompleteness that places the viewer face to face with the process a painting undergoes before it fully reveals itself.

Perception changes, however, when it turns out that the tape, the snippets, and even the folds in the canvas are in fact painted trompe-l’oeils. Gobyn employs this painterly strategy not merely to showcase optical trickery, but to make the viewer conscious of the act of creation through the illusion of its outcome. In this way, instead of being a matter of optical illusion and painterly virtuosity, trompe-l’oeil becomes a searchlight into the artistic process itself, questioning the “status” of the painting as both image and object.

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- Ritsart Gobyn (Belgian, b. 1985)
  Untitled (O'Keeffe), 2025
  Oil, Acrylic, and Spray Paint on Canvas
  16 1/2" x 12 1/2" (42 x 32 cm)
  Unique
  (RG.25503)
  
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- Ritsart Gobyn (Belgian, b. 1985)
  Ça suffit? (Picasso), 2024
  Oil, acrylic and Spray Paint on Canvas
  Framed: 71 7/8" x 52 1/4" (183 x 133 cm)
  Unique
  (RG.25451)
  
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- Ritsart Gobyn (Belgian, b. 1985)
  Untitled (O'Keeffe) 2, 2025
  Oil, Acrylic, and Spray Paint on Canvas
  40 1/2" x 30" (103 x 78 cm)
  Unique
  (RG.25502)
  
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Alina Perez

In her monumental works on paper, Alina Perez (b. 1995; Miami, FL) blends personal recollection and imagination, combining both remembered and fantastical elements that create a realm entirely her own. Perez employs the mind’s eye, using drawing as a tool to visualize scenes that are motivated by real emotional sensations. The artist understands memory as inherently malleable and open to chance, and uses her practice as a force in the constant revision of her own memories. Working in grand, fluid narrative, Perez rethinks familial history, personal trauma, and notions of identity that are rooted in both the individual and in geography.

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Alina Perez (American, b. 1995)
Paradise Lost, 2025
Charcoal and Pastel on Paper
72" x 90" (183 x 229 cm)
Framed: approximately 76 13/16" x 94 9/16" (195 x 240 cm)
Unique
(ALP.25498)

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- Alina Perez (American, b. 1995)
  I am the Orchid, and You are the Sun, 2025
  Charcoal and Pastel on Paper
  59" x 80" (150 x 203 cm)
  Frame: 62 3/4” x 83 3/4” (159 x 213 cm)
  (ALP.25211)
  
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- Alina Perez (American, b. 1995)
  Blue Springs, 2025
  Charcoal and Pastel on Paper
  90” x 72” (229 x 183 cm)
  Framed: 94 9/16” x 76 13/16” x (240 x 195 cm)
  Unique
  (ALP.25423)
  
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Meghann Riepenhoff

With her cameraless photographs, Meghann Riepenhoff (b. 1979; Atlanta, GA) depicts the ebb and flow of time, examining humans’ relationship with the environment and our impermanent place within it. The artist creates cyanotypes, a process that entails exposing chemically treated paper to ultraviolet light. Riepenhoff places the paper on the shorelines of rivers and oceans, letting wind, water, and sediment imprint on the paper’s surface. Other times, the artist exposes the paper to rain or snow, revealing crystals, droplets, and kaleidoscopic patterns created by the elements.

Learn more about Meghann Riepenhoff
Meghann Riepenhoff (American, b. 1979)
Day 425.1 Waters of the Americas: EPA #IDN001002876 (Residual and Current Triumph Silver Mine Contamination, Freezing, Rushing Water, Mica, Mushroom Ink, Big Wood River, Idaho), 2025
Three Dynamic Cyanotypes
Dimensions, each element: 42” x 30” (106.5 x 76 cm)
Framed: approximately 46” x 93 1/2” (117 x 237.5 cm) – in one frame
Unique
(MRie.25399)

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- Meghann Riepenhoff (American b. 1979)
  Ecotone #902 (Bainbridge Island, WA 07.02.20, Hillside and Understory Throughfall, Showers), 2020
  Dynamic Cyanotype
  88” x 42” (223.5 x 106.5 cm)
  Framed: 92 3/4” x 46 9/16” (235 x 118 cm)
  Unique
  (MRie.21928)
  
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- Meghann Riepenhoff (American, b. 1979)
  Ice #469 (30 - 41°F, Point White, WA 03.04 - 06.23), 2023
  Dynamic Cyanotype
  59 7/8" x 42" (152 x 106.5 cm)
  Framed: approximately 63 1/4" x 45" (160.5 x 114.5 cm)
  Unique
  (MRie.24746)
  
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Cameron Welch

A duality motivates Cameron Welch (b. 1990; Indianapolis, IN), whose mosaic works are contemporary and ancient at once. Referencing visual elements of archaeology and figures of myth alongside commercial brands and digital signifiers, the artist tells a discursive, nonlinear story that unwinds from antiquity to the present day. The dizzying result is a narrative space that is many-handed, transforming and joining as many individual contextual elements as it does pieces of tile, stone and ceramic.

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- Cameron Welch (American, b. 1990)
  Finestra, 2025
  Marble, Glass, Ceramic, Stone, Spray Enamel, Oil, and Acrylic on Panel
  60 5/8" x 49 5/8" (154 x 126 cm)
  Unique
  (CamW.25439)
  
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- Cameron Welch (American, b. 1990)
  Lovers, 2025
  Marble, Glass, Ceramic, Stone, Spray Enamel, Oil, and Acrylic on Panel
  60 5/8 x 49 5/8 inches (154 x 124.5 cm)
  Unique
  (CamW.25438)
  
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Shikeith

With a complex multidisciplinary practice, Shikeith (b. 1989; Philadelphia, PA) interrogates the sociopolitical structures and histories that oppress the psychological landscapes of marginalized communities. Influenced by his interest in hauntology and spiritual traditions from the African diaspora, Shikeith's artwork both mines and speculates on methodologies of disentangling and reconciliation. His works employ magical realist aesthetics, creating elusive compositions challenging gender norms and asking viewers to engage with the invisible forces that shape their perception of the subjects depicted and self.

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- Shikeith (American, b. 1989)
  O' my body, make of me always a man who questions!, 2025
  Bronze
  35 3/4" x 28 3/4" x 18 1/2" (91 x 73 x 47 cm)
  Edition of 5 plus 2 artist's proofs
  
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- Shikeith (American, b. 1989)
  Blue Shadow, 2024
  Bronze and Glass
  30" x 11 3/4" x 7 3/8" (76 x 30 x 19 cm)
  Edition of 5 plus 2 artist's proofs
  
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Shikeith (American, b. 1989)
Visiting Hours, 2022
Archival Inkjet Print on Photo Rag Baryta Paper
49" x 60" (124.5 x 152.5 cm)
Framed: 49 15/16' x 60 7/8" (127 x 154.5 cm)
Edition of 5 plus 2 artist's proofs

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Navot Miller

Enamored with life's fleeting moments of passion, heartache, and banality, Navot Miller (b. 1991; Shadmot Mehola, Israel) positions his practice as a record of it all. Drawing from the flow of moments and memories in his own life, Miller records the landscapes, architecture, and people he sees with fresh, inquisitive eyes. To capture these moments, Miller takes hundreds of photos as they pass, revisiting them later as the source material for his paintings. This part of his process-the transfer of composition from screen to canvas-is crucial, as it lends itself to a flatness of form, which Miller enhances with a vibrant, highly contrasted palette of solid pinks, yellows, blues, and greens. The forms that emerge are sectioned into flat blocks of color, punctuated intermittently by elements of richly blended paint that accentuate such elements as hair, skin, or flowing tapestries.

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- Navot Miller (Israeli, b. 1991)
  Refuge, 2025
  Oil on Linen
  59" x 47" (150 x 120 cm)
  Unique
  
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- Navot Miller (Israeli, b. 1991)
  Iñigo in Lac de Serre-Ponçon, 2025
  Oil on Canvas
  40" x 30" (102 x 76 cm)
  Unique
  (NavM.25449)
  
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- Navot Miller (Israeli, b. 1991)
  Jake early in the morning, 2025
  Oil on Canvas
  24" x 18" (60 x 45 cm)
  Unique
  (NavM.25359)
  
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Natia Lemay

Natia Lemay (b. 1985; T’karonto [Toronto], Canada) retells her own personal narrative in her paintings, working from memory in explorations of the color black that reorient notions of visibility and trauma. Building monochrome environments of textured paint that envelop luminous human subjects, the artist depicts herself and her children in compositions that shift the process of remembering away from pain and towards healing. The duality of pictorial visibility and invisibility is a potent visual metaphor for her own lived experience as an Afro-Indigenous woman growing up in Canada.

Learn more about Natia Lemay
Natia Lemay (Canadian, b. 1985)
She Sat Where the Water Learned Her Name, 2025
Oil on Canvas
30" x 40" (76 x 102 cm)
Unique

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- Natia Lemay (Canadian, b. 1985)
  Making Space For Wonder, 2024
  Oil on Panel
  Diameter: 18" (45.5 cm)
  Unique
  (NTL.24796)
  
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- Natia Lemay (Canadian, b. 1985)
  Where To Start, 2024
  Oil on Panel
  Diameter: 18" (45.5 cm)
  Unique
  (NTL.24795)
  
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Ibrahim Said

Ibrahim Said (b. 1976; Cairo, Egypt) creates ceramic vessels that take on gravity-defying shapes, with top-heavy bodies supported by sinuous legs and tentacles coiled into mobius strips. Cascading down their sides are intricate geometric patterns that mimic the interlacing designs of Islamic art and architecture. Each piece is made complete with a fine glaze, often in a burnished black that recalls the black-topped pottery of the ancient Egyptian Naqada period (4000 – 3000 BCE). Such historic references are hardly a coincidence: at the core of the Egyptian-American artist’s practice is a deep love and knowledge of his home country’s ceramic traditions. With his rigorous practice, Said celebrates his heritage while advancing quintessentially Egyptian motifs and forms towards new horizons.

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- Ibrahim Said (Egyptian, b. 1976)
  Lily Pad Vase, 2025
  White Earthenware
  16 1/4” x 9” (41 x 23 cm)
  Unique
  (ISa.25488)
  
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- Ibrahim Said (Egyptian, b. 1976)
  Flamenco Vase, 2025
  White Earthenware
  16 1/4” x 9 1/2” (41 x 24 cm)
  Unique
  (ISa.25489)
  
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- Ibrahim Said (Egyptian, b. 1976)
  Olla Black, 2025
  White Earthenware
  22 1/4” x 8” (57 x 20 cm)
  Unique
  (ISa.25500)
  
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Kathrin Linkersdorff

Kathrin Linkersdorff (b. 1966; Berlin, Germany) began her career as an architect working in Japan. There she became acquainted with the aesthetic concept of wabi-sabi: the view that ephemerality and imperfection are integral and even beautiful parts of life. Her photographs of flowers and other living beings embody this worldview, presenting still images of organic life as it transitions from life to some transient state beyond. While plants or bacteria do form the point of reference in Linkersdorff's works, her practice is not merely concerned with depicting them. Rather, the organic is a vehicle for the philosophy that emerges behind their presentation: a staging of symbols of transience in processual metaphor. Each image is a carefully selected snapshot that captures a particular moment in the organic process of decay that Linkersdorff artistically orchestrates.

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- Kathrin Linkersdorff (German, b. 1966)
  Fairies II / 13, 2025
  Archival Pigment Print on Hahnemuehle Photo Rag Ultra Smooth
  Available in Two Sizes
  
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- Kathrin Linkersdorff (German, b. 1966)
  Fairies IV / 2, 2020
  Archival Pigment Print on Hahnemuehle Photo Rag Ultra Smooth
  Available in Two Sizes
  
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- Kathrin Linkersdorff (German, b. 1966)
  Fairies II / 7, 2020
  Archival Pigment Print on Hahnemuehle Photo Rag Ultra Smooth
  Available in Two Sizes
  
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Kathrin Linkersdorff (German b. 1966)
Fairies VI / 10, 2022
Archival Pigment Print on Hahnemuehle Photo Rag Ultra Smooth
Available in Two Sizes

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Asif Hoque

Asif Hoque (b. 1991; Rome, Italy) builds his own mythos in his paintings, drawing from classical traditions of both East and West. Born to Bangladeshi parents and raised between Rome and South Florida, the artist's multicultural background figures heavily into his work. Hoque blends Roman and Bengal traditions to spin victorious narratives of love, joy, and allegorical triumph. His grandiose compositions center fantastical beasts and joyous Brown bodies that dance and play among mountainous landscapes, billowing clouds, or crashing waves.

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- Asif Hoque (Bangladeshi-American, b. 1991)
  GOLDENBOY & GOLDENGIRL 1, 2025
  Oil on Linen
  12" x 9" (31 x 23 cm)
  Framed: 12 3/4" x 9 3/4" (32 x 25 cm)
  Unique
  (ATH.25527)
  
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  %3Cp%3E%3Cb%3EAsif%20Hoque%3C/b%3E%3Cspan%3E%26%23160%3B%28Bangladeshi-American%2C%20b.%201991%29%3C/span%3E%3Cbr%20/%3E%3Cem%3EGOLDENBOY%20%26%20GOLDENGIRL%201%3C/em%3E%3Cspan%3E%2C%202025%3C/span%3E%3Cbr%20/%3E%3Cspan%3EOil%20on%20Linen%3C/span%3E%3Cbr%20/%3E%3Cspan%3E12%22%20x%209%22%20%2831%20x%2023%20cm%29%3C/span%3E%3Cbr%20/%3E%3Cspan%3EFramed%3A%2012%203/4%22%20x%209%203/4%22%20%2832%20x%2025%20cm%29%3C/span%3E%3Cbr%20/%3E%3Cspan%3EUnique%3C/span%3E%3Cbr%20/%3E%3Cspan%3E%28ATH.25527%29%3C/span%3E%3C/p%3E
- Asif Hoque (Bangladeshi-American, b. 1991)
  GOLDENBOY & GOLDENGIRL 2, 2025
  Oil on Linen
  12" x 9" (31 x 23 cm)
  Framed: 12 3/4" x 9 3/4" (32 x 25 cm)
  Unique
  (ATH.25528)
  
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Zoe Walsh

Zoe Walsh's (b. 1989; Washington, D.C.) technicolor paintings vibrate between formal abstraction and figurative landscape. Often rooted in Los Angeles' local sites, spots, and stages, Walsh's work features figures dispersed among vibrant shocks of color and layered fields of pigment. Their figures appear faintly, with only luminescent silhouettes to mark their presence, featured among idyllic outdoor expanses. Walsh sources these figures from archives of queer photography and locates them in contemporary landscapes, weaving in and out of time to fabricate a new mode of interconnected existence and queer presence through history.

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- Zoe Walsh (American, b. 1989)
  Rule and Energy, 2025
  Acrylic on Canvas-Wrapped Panel
  60" x 48" x 1 3/4" (152 x 122 x 4 cm)
  Unique
  (ZoWa.25409)
  
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- Zoe Walsh (American, b. 1989)
  Flickers as they pass, 2023
  Acrylic on Canvas-Wrapped Panel
  24" x 18" (61 x 45.5 cm)
  Unique
  (ZoWa.24157)
  
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Linus Borgo

Linus Borgo’s (b. 1995; Stamford, CT) work deals with themes of spiritual elevation, identity, and reclamation of the body. Immersive in both scale and content, his paintings oscillate between sublime depictions of the aftermath of trauma and quotidian moments of daily life in the city.

The artist’s lavish compositions are marked by their elegant arrangement of bodies, vibrant color palette, and incorporation of spiritual themes. Often, they explore the anatomy of the human body with near scientific accuracy. Borgo, who is of Italian descent, connects this interest to his childhood summers in Italy where he frequented museums and absorbed the techniques and thematic imagery of the Renaissance masters. The artist adapts these traditions to a contemporary world, centering his practice around questions of gender, recovery and personal transformation.

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- Linus Borgo (American, b. 1995)
  Shoes Too Big, 2025
  Oil on Panel
  11" x 14" (28 x 35.5 cm)
  Unique
  
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- Linus Borgo (American, b. 1995)
  Honeyed cat, 2025
  Oil on Canvas
  59" x 47" (150 x 119.5 cm)
  Unique
  (LNB.25441)
  
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Alexa Guariglia

Combining the immediacy of drawing with the textual and tonal diversity of painting, Alexa Guariglia’s (b. 1990; New York, NY) pictures collate fragmentary memories and moments into immersive wholes. As if by autonomous outpouring, patterns, coded objects, and actions create psychological stages for figures to perform various solitudes in full view. With the physical, emotional, and mental components of art-making as subject and conceptual engine, Guariglia embraces uncertainty and inconsistency as part of her process, freely moving between styles and modes.

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- Alexa Guariglia (American, b. 1990)
  Friday Forgotten, 2023
  Gouache, Watercolor, and Ink on Paper
  12" x 10" (30.5 x 25.5 cm)
  Framed: 15" x 13" (38 x 33 cm)
  Unique
  
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- Alexa Guariglia (American, b. 1990)
  Sunday Specific, 2023
  Gouache, Watercolor, and Ink on Paper
  12" x 10" (30.5 x 25.5 cm)
  Framed: 15 1/16" x 13 1/16" (38 x 33 cm)
  Unique
  
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- Alexa Guariglia (American, b. 1990)
  Wednesday Clipping, 2024
  Gouache, Watercolor, and Ink on Paper
  12" x 10" (30.5 x 25.5 cm)
  Framed: 15" x 13" (38 x 33 cm)
  Unique
  
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Alexa Guariglia (American, b. 1990)
Méret, 2025
Gouache, Watercolor, and Ink on Paper
34 5/8” x 37 7/16” (88 x 95 cm)
Framed: 38 5/16” x 41 3/16” (97.5 x 104.5 cm)
Unique
(AaGr.25193)

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Alison Rossiter

Alison Rossiter (b. 1953; Jackson, MS) creates camera-less photographs on expired, vintage photo paper that harness the untapped material potential of relics from centuries past. Her inspiration to work this way came from a foray into conservation work as a volunteer and appreciative observer at the Metropolitan Museum of Art, which revealed to her the deep history of materials and supplies as the foundation of photography. Over the past two decades, the artist has assembled a library of photographic papers, with rare and prestigious examples dating back to the 19^th century. A profound reverence for these papers is the ultimate motivation behind Rossiter's work: after years or decades in storage, she finally develops these historical samples, activating them after the effects of time have long played out on their surfaces.

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- Alison Rossiter (American, b. 1953)
  Eastman Kodak Polycontrast F, expired September 1977, processed 2017, 2025
  Four Gelatin Silver Prints
  Dimensions, each element: 20” x 16” (51 x 40.5 cm)
  Frame: 45 1/2” x 37 5/8” (116 x 96 cm)
  Unique
  (AR.25447)
  
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- Alison Rossiter (American, b. 1953)
  Eastman Kodak Kodabromide F-5, expired September 1977 processed 2025, 2025
  Two Gelatin Silver Prints
  Dimensions, each element: 20” x 16” (51 x 40.5 cm)
  Dimensions, overall: 20” x 32” (51 x 81.5 cm)
  Frame: 25 1/4” x 37 3/8” (64 x 95 cm)
  Unique
  (AR.25445)
  
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Phoebe Little

Phoebe Little’s (b. 1992; Lincoln, Nebraska) paintings examine the conditions of consumption, hinging on an ambivalence between fulfilment and emptiness. Little draws on vanitas and trompe l’oeil styles of painting to build narratives that bridge the mundane and the luxurious, conflating the two in a manner that is at once satirical and meaningful. Little’s lavish attention to detail elevates her subjects, which arise from everyday life; snacks, flowers, thrifted trinkets, and empty containers appear in her works with the same care and attention witnessed in masterwork still lives from Dutch art history. In channeling interplays of these objects through a highly precise hand, the artist builds a narrative that positions the quotidian elements of life as an arena in which identities are drawn and histories can be examined.

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Phoebe Little (American, b. 1992)
Cottage Core, 2025
Oil on Linen
48" x 60" (122 x 152.5 cm)
Unique
(PBL.25440)

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Matthew Brandt

Photo-based artist Matthew Brandt (b. 1982; Los Angeles, CA) creates his artworks using physical elements from the very subjects he photographs. Among different sources, the artist finds inspiration in landscape photography of the American West, especially its correlation to the methods of printing and making images during photography's infancy in the mid-nineteenth century. In this vein of historical engagement, Brandt revives traditional photographic processes, including handmade papermaking and gum-bichromate, which predates film in the timeline of photographic technology. Much of Brandt's oeuvre is made from the subjects it depicts: prints may be soaked in water from the lakes they picture, or the pigments affixed to the print may be derived from charcoal made from trees in the image. At times, the artist's process goes so far as rendering night skies in cocaine on black velvet, or baking tar-based images in the sun. This engagement with the natural world and derived materials also introduces an element of chance to Brandt's work, as the media resist control and create new, unexpected features.

Learn more about Matthew Brandt
- Matthew Brandt (American, b. 1982)
  AgXSB2012, 2024
  Silver on Silver Gelatin Print Mounted on Aluminum
  20” x 12” x 1 3/4” (51 x 30.5 x 4.5 cm)
  Unique
  (MBr.25486)
  
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  %3Cp%3E%3Cstrong%3EMatthew%20Brandt%3C/strong%3E%20%28American%2C%20b.%201982%29%3Cbr%20/%3E%3Cem%3EAgXSB2012%3C/em%3E%2C%202024%3Cbr%20/%3ESilver%20on%20Silver%20Gelatin%20Print%20Mounted%20on%20Aluminum%3Cbr%20/%3E20%26rdquo%3B%20x%2012%26rdquo%3B%20x%201%203/4%26rdquo%3B%20%2851%20x%2030.5%20x%204.5%20cm%29%3Cbr%20/%3EUnique%3Cbr%20/%3E%28MBr.25486%29%3C/p%3E%3Cdiv%20id%3D%22gtx-trans%22%20style%3D%22position%3A%20absolute%3B%20left%3A%206px%3B%20top%3A%2029px%3B%22%3E%26nbsp%3B%3C/div%3E
- Matthew Brandt (American, b. 1982)
  AgXSB2829, 2024
  Silver on Silver Gelatin Print Mounted on Aluminum
  28” x 29” x 1 3/4” (71 x 73.5 x 4.5 cm)
  Unique
  (MBr.25504)
  
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  %3Cp%3E%3Cstrong%3EMatthew%20Brandt%3C/strong%3E%20%28American%2C%20b.%201982%29%3Cbr%20/%3E%3Cem%3EAgXSB2829%3C/em%3E%2C%202024%3Cbr%20/%3ESilver%20on%20Silver%20Gelatin%20Print%20Mounted%20on%20Aluminum%3Cbr%20/%3E28%26rdquo%3B%20x%2029%26rdquo%3B%20x%201%203/4%26rdquo%3B%20%2871%20x%2073.5%20x%204.5%20cm%29%3Cbr%20/%3EUnique%3Cbr%20/%3E%28MBr.25504%29%3C/p%3E%3Cdiv%20id%3D%22gtx-trans%22%20style%3D%22position%3A%20absolute%3B%20left%3A%205px%3B%20top%3A%2029px%3B%22%3E%26nbsp%3B%3C/div%3E
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