Alfa Gallery

Alfa Gallery Alfa is an artist-run contemporary art space. Alfa Gallery is an artist-run contemporary art gallery.

Since its establishment more than a decade ago, Alfa has identified and cultivated the careers of an international roster of visionary and emerging artists. Since its establishment more than a decade ago, the gallery has identified and cultivated the careers of an international roster of visionary and emerging artists. Our mission is to support artists by providing a platform to showcase their wor

k and dedicate to creativity and experimentation, as well as collaborate with venues on the national and international levels, presenting museum-quality solo and group exhibitions.

Francesco Fossati Lives and works in Lissone, ItalyFrancesco Fossati is a visual artist who has placed environmental sus...
09/04/2026

Francesco Fossati
Lives and works in Lissone, Italy
Francesco Fossati is a visual artist who has placed environmental sustainability at the center of his artistic research, in his works the forms of minimalism are reinterpreted through operational methods, techniques and materials used. He produces large-scale works on canvas by printing plant materials collected in the city from spontaneous and invasive plants that grow in areas of little interest for gentrification. Fossati creates sculptures thanks to the development of mycelium and the cultivation of mushrooms, natural elements capable of carrying out large ecosystem transformations, used by the artist to revitalize the austerity of minimalist forms and take them beyond the human-centered dimension. He also creates and shares with other artists natural oil colors made by transforming elements collected in nature into pigments.

Francesco Fossati is part of our Alfa Gallery Program.

For more information or inquiries, please contact us via email [email protected]

08/31/2026

Since the 1960s, Robert Mangold has developed a distinctive visual language rooted in geometry, asymmetry, subtle color, and the tension between fragment and whole.

Often associated with Minimalism, his paintings draw equally from Ancient Greek pottery, Renaissance frescoes, architecture, and the history of painting.

For Mangold, abstraction becomes a study of perception—where seemingly simple forms reveal complex relationships between space, scale, surface, and structure.

As critic Robert Storr described it, Mangold creates not “subject matter,” but “object matter.”

Adrián Guerrero Castellanos simultaneously redefines art and philosophy in terms of gesture, process and interpretation,...
08/31/2026

Adrián Guerrero Castellanos simultaneously redefines art and philosophy in terms of gesture, process and interpretation, generating dialogues in relation to the phenomenology of perception and spatiality, while causing conceptual and subjective interpretations to transmute everyday realities in order to capture them in his plastic discourse.

The approach to his work is characterized by crossing the limits of philosophical concepts and creating tensions that shape the experience of the forms the spectator observes, generating a certain dissidence in perception depending on the distance from which it is viewed. Guerrero’s work never says and represents in the same moment; it distributes in a perceptual space both the object and our singular relationship with it, forming a different experience in relation to distance, dimension and volume.

Paul AmundarainB. 1985, Venezuela.Lives and works in MiamiPaul Amundarain belongs to a generation that received the lega...
08/29/2026

Paul Amundarain

B. 1985, Venezuela.

Lives and works in Miami

Paul Amundarain belongs to a generation that received the legacy of the grid a form that allowed modernity to be structured already deconstructed.His research tries to solve problems in social aspects, the development of man in the city and his work as a record of his own experiences using technological processes that characterizes him. The grid that previous generations reinserted in the skin of the cities through urban interventions, is multiplied in his graphic base paintings assuming it has multiple meanings: grid, fence, grating overlapping visual signals on his own experience of mobility. However when he quotes a kinetic-like Carlos Cruz-Diez and evokes his physichromies, he inserts disturbing social images in a gesture which reminds us that we are in turbulent times and that the dream deposited in the perceptual participation has “failed”, as the same adjective he uses as a title for one of his paintings associated with the grid. Works such as Broken grid, but also as Memory in which his face appears behind a mesh of interwoven grids- superimpose two aspects of the failed promises of modernity in various places in Latin America and Venezuela: political and socio-economic instability and consequent massive emigration. Asa newcomer to the United States, his work contains a biographical and aesthetic record of the pursuit of paradise that is often fulfilled in enclosed horizons. At the same time, he has learned the lessons of survival that in depressed neighborhoods make it possible to manufacture necessary objects with materials discarded by other social sectors. Trash is recycled as art.

B. 1961, Esbjerg, DenmarkLives and works in Odense, DenmarkHer work emphasizes simplicity through geometric abstraction,...
08/28/2026

B. 1961, Esbjerg, Denmark
Lives and works in Odense, Denmark

Her work emphasizes simplicity through geometric abstraction, reducing form to its essentials in order to construct a physical narrative of presence and being.

She explores the tension between flatness and depth, using line, positive and negative space, and repetition to generate subtle optical illusions.

These visual shifts challenge perception, inviting the viewer to oscillate between two-dimensional surfaces and the suggestion of three-dimensional space.

Through this visual language, she seeks to evoke a contemplative encounter—where movement and stillness coexist, drawing the viewer into a quiet dialogue with structure, rhythm, and spatial perception.

Her work has been exhibited internationally in Australia, the United States, France, Greece, Colombia, Poland, Germany, the Netherlands, Denmark, and Tasmania.

Cheyney Thompson approaches painting as both an image and a system.At the core of his practice is a sustained examinatio...
08/27/2026

Cheyney Thompson approaches painting as both an image and a system.

At the core of his practice is a sustained examination of how painting is produced, distributed, and presented under contemporary conditions. Thompson often establishes rigorous rules and systems as generative tools, allowing mathematical theories, algorithms, economic formulas, and numerical color systems to shape the making of his works.

By reducing the subjectivity of individual artistic decisions, Thompson shifts attention toward the structures underlying the act of painting itself. His work creates a compelling tension between precision and perception, calculation and materiality, form and the consciousness of production.

Painting becomes not simply an object to be seen, but a complex field in which systems, labor, color, and meaning intersect.

© Cheyney Thompson.

Agnes Martin was deeply interested in the transcendent potential of painting. Although she was a contemporary of the Abs...
08/25/2026

Agnes Martin was deeply interested in the transcendent potential of painting. Although she was a contemporary of the Abstract Expressionists and identified her work with the movement, her oeuvre played a critical role in heralding the advent of Minimalism.

Her paintings evolved from biomorphic forms and geometric abstraction into a highly distilled visual language of delicate grids, horizontal and vertical lines, and muted fields of color. Using graphite, acrylic, and watercolor, Martin explored subtle variations in rhythm, structure, space, and color.

Deeply influenced by nature, solitude, and Eastern philosophy, she approached painting as a contemplative practice. Her restrained compositions invite a slower way of looking, transforming repetition and precision into an experience of stillness and transcendence.

Characterized by austere lines and grids superimposed upon grounds of muted color, Martin’s paintings elegantly negotiate the confines of structure, space, draftsmanship, and the metaphysical.

© Estate of Agnes Martin / Artists Rights Society (ARS), New York.

08/25/2026

Beauty, Agnes Martin argued, was never a property of things.

Filmed over four years in her adobe studio in Taos, “With My Back to the World” documents Martin in her late eighties, following decades of near total withdrawal from public life, first in New York, then in the house she built by hand in the New Mexico desert. She gave almost no interviews. This remains one of the few records of her speaking at length about her practice.

In this clip, she addresses beauty directly. Not as a quality residing in paintings, landscapes, or objects, but as a state of mind, cultivated rather than encountered.

This distinction shaped everything that followed in her work. The grids and horizontal bands for which she is known were not built to represent anything external. They were structures for holding a specific clarity of perception, one she pursued in isolation, at a remove from the art world she had once been part of.

Martin’s paintings do not ask to be looked at so much as they ask what looking, done carefully enough, might become.

© Agnes Martin

Sean Scully has transformed the language of American abstraction, moving beyond Minimalism’s restraint toward an abstrac...
08/23/2026

Sean Scully has transformed the language of American abstraction, moving beyond Minimalism’s restraint toward an abstraction charged with emotion, memory, and spirituality.

Across monumental paintings of bands, blocks, and shifting geometries, Scully brings together the legacies of Rothko, Po***ck, Matisse, Mondrian, and classical architecture—creating a visual language that feels at once architectural and deeply human.

After five decades of practice, his work continues to affirm that abstraction can be both rigorous and profoundly emotional.

© Sean Scully

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