Abu Dhabi Art Fair 2025 : Booth A26

19 - 23 November 2025

JD Malat Gallery is delighted to participate in Abu Dhabi Art Fair 2025, from November 18 to 23. At Booth A26 we are showcasing a selection of exciting works in various media by Colombian artist Santiago Parra (b. 1986), British artist Richard Hudson (b. 1954), Japanese artist Masayoshi Nojo and American artist Andy Moses (b. 1962).
(Larger version of this image opens in a popup).

(Larger version of this image opens in a popup).

(Larger version of this image opens in a popup).

(Larger version of this image opens in a popup).

(Larger version of this image opens in a popup).

(Larger version of this image opens in a popup).

(Larger version of this image opens in a popup).

Santiago Parra, Untitled, 2025
Richard Hudson, Tear, 2020, Polished Mirrored Steel, 78 3/4 x 52 1/4 in, 200 x 132.8 cm

Richard Hudson

Richard Hudson (b. 1954, Yorkshire, UK) is a British sculptor known for his large-scale, curvilinear forms that blur the line between figuration and abstraction. His practice is rooted in the exploration of the female form, often rendered through sweeping lines and sensuous surfaces that celebrate volume, movement and material. Drawing inspiration from modernist figures such as Henry Moore, Jean Arp and Constantin Brâncuși, Hudson works across bronze, marble, aluminium and mirror-polished stainless steel. His reflective sculptures respond dynamically to their environments, shifting with the light and surroundings. Hudson’s work has been exhibited internationally, including in London, New York, Dubai and Geneva, and he has participated in major fairs such as TEFAF, Masterpiece and Art Miami.
Andy Moses, Geomorphology 1108, 2025, Acrylic on canvas, 36 x 72 in, 91.4 x 182.9 cm

Andy Moses

Andy Moses (b. 1962, Los Angeles) creates dynamic abstract works that explore the interplay of colour, light, and surface. His practice is rooted in process-based experimentation, drawing on the physical behaviour of paint to evoke natural and optical phenomena. He studied at the California Institute of the Arts from 1979 to 1981 and later moved to New York, where he worked as an assistant to Pat Steir. It was during this period that he began refining a process-driven approach, incorporating elements of both abstraction and perception.

Moses's intricate technique involves manipulating paints mixed with metallic pigments and industrial coatings, applied to curved or shaped panels. He uses gravity, flow, and centrifugal force to guide the paint, producing compositions that recall geological strata, ocean currents, lava flows, cloud formations, or planetary surfaces. These works respond to light and movement, shifting visually as the viewer moves, merging painting, sculpture, and perceptual experience into a single immersive surface.
Santiago Parra, Untitled, 2025, Acrylic on canvas, 63 x 39 3/8 in, 160 x 100 cm

Santiago Parra

Santiago Parra (b. 1986, Bogotá) is known for his large, abstract and highly expressive monochromatic paintings. His canvases capture the suspended flatness of the calligraphy-like imagery, harmonising two seemingly incompatible aesthetic moments, spontaneity and pondering, which are all shaped by movement, strength, gravity and skill of his creative process. He explores the expressive possibilities of the quintessential abstract form. With an audacious manner he redefines abstract structures with bold sculptural brushstrokes. His work is both an aesthetic exploration and a questioning of the essence of abstract image making.
Masayoshi Nojo, Mirage#36, 2019, Cotton on panel, acrylic, silver foil, aluminium foil, 66 7/8 x 59 1/8 in, 170 x 150 cm

Masayoshi Nojo

Masayoshi Nojo (b. 1989, Kanagawa, Japan) combines contemporary visual languages with Japanese aesthetics, exploring the themes of memory and the passage of time. Rooted in Japanese art history, Nojo’s use of silver – ethereal and shimmering – is particularly reminiscent of Ogata Kōrin’s celebrated work during the Edo Period in seventeenth-century Japan. Kōrin’s marbled silver rivers, often painted upon byōbu folding screens, were symbolic of time’s flow due to the changing colour of the metal through oxidisation. This depiction of time has since been adopted as a motif by artists worldwide such as Gustav Klimt and has become a cornerstone of a form of Japanese art known today as Rinpa (literally meaning “school of Kōrin”). With his most recent series, entitled Mirage, Nojo uses this sense of time to conjure a sense of deja-vu in the viewer – evoking a memory tantalisingly close, yet just out of reach.