Art Basel Hong Kong

Oscillating between a highly stylized technique and uncanny realism,  Srijon Chowdhury (b. 1987) crafts prismatic compositions that mine elements from daily life to find the universal in the quotidian. Combining interests in philosophy, religion, ecology, and art history, Chowdhury’s intensely saturated and hypnotic compositions transform the artist’s immediate environment into immersive dreamscapes where the boundaries between our physical reality and the metaphysical, mythological and the supernatural dissolve. Chowdhury was born in Dhaka, Bangladesh, and lives and works in Portland, OR, where he and Anna Margaret run the exhibition space Chicken Coop Contemporary. He holds a BFA from the University of Minnesota Twin Cities and an MFA from the Otis College of Art and Design, Los Angeles, CA. He has been awarded grants from the Oregon Arts Commission, 2018; Regional Arts and Culture Council, 2018; Precipice Fund (Andy Warhol Foundation, Portland Institute for Contemporary Art, & Calligram Foundation) 2017; and the Otis Governors Grant, 2012. Chowdhury has presented solo exhibitions at Frye Art Museum, Seattle, WA; CFA Live, Milan, Italy; Antoine Levi, Paris, France; and Ciaccia Levi, Paris, France; among others. His work has been included in group shows at the FLAG Art Foundation, New York, NY; François Ghebaly, Los Angeles, CA; Franz Kaka, Toronto, Canada; Chapter NY, New York, NY; Nir Altman, Munich, Germany; Santa Monica Museum of Art, Santa Monica, CA; and Torrance Art Museum, Torrance, CA; among others. Chowdhury’s work was recently showcased in the 2024 Artists’ Biennial in Portland, OR. Concurrent with his co-curation of the Frye Art Museum’s group exhibition Door to the Atmosphere, the institution held Chowdhury’s first solo museum exhibition Same Old Song in 2022, coinciding with a publication of the same name. Tapestry, Chowdhury’s debut solo exhibition with P·P·O·W, was on view in Fall 2024.

Elizabeth Glaessner (b. 1984) conjures a saturated, densely layered world of transformation and multiplicity. Inviting amorphousness in her subjects and environments, Glaessner’s surreal universe is populated by evocative forms in various states of becoming or undoing. Rich with art historical and cultural allusions, her work offers no narratives or fables, but rather evokes nebulous atmospheres unmoored by virtue and vice. Working in oil, acrylic and pure pigments dispersed with water and various binders, Glaessner’s technique shifts between formal articulation and non-representational gesture. In her review of Glaessner’s 2022 exhibition at P·P·O·W, Johanna Fateman writes, “Glaessner’s vaporous figuration and dreamy backgrounds can recall such symbolists as Edvard Munch and Odilon Redon, but her color is bolder. She deploys a singular alchemy of high-key stains and pours, overlaid with rich oil paint, to achieve a hazy deep space and smoothly modelled volumes.” Glaessner was born in Palo Alto, CA, and grew up in Houston, TX. After receiving her BA from Trinity University, San Antonio, TX in 2006, she completed her MFA at the New York Academy of Art, New York, NY, in 2013. She was awarded a postgraduate fellowship at the New York Academy of Art in 2013. Her work has been included in group shows at Journal Gallery, New York, NY; Brigitte Mulholland, Paris, France; 1969 Gallery, New York, NY; Perrotin, Paris, France; FLAG Art Foundation, New York, NY; and Kasmin, New York, NY; among others. In 2022, Glaessner presented her third solo exhibition with P·P·O·W, Phantom Tail, as well as her first institutional solo presentation, Four Legs in a Garden, at Le Consortium, Dijon, France. Glaessner has recently been the subject of solo exhibitions at Perrotin, Paris, France and Francois Ghebaly, Los Angeles, CA. Her work was recently on view as part of the group exhibition Behind the Bedroom Door at James Cohan, New York, NY. She will mount her fourth exhibition with P·P·O·W in Fall 2025.  

Since first exhibiting with P·P·O·W in 1986, Joe Houston (b. 1962) has distilled timely environmental and social concerns into rigorously executed paintings and works on paper of commonplace, middle-American objects. Executed with exacting detail and nuance, his evocative works also serve as meditations on the precarious endeavor of painting in our time. Houston pursued undergraduate studies at the School of the Art Institute of Chicago, IL, and earned his MFA from Northwestern University’s Department of Art Theory & Practice, Chicago, IL. He first showed at P·P·O·W in 1986 and 1993, returning for his third exhibition with the gallery in 2018, Ruins, with a series of intimate paintings centered on the damaged genitalia of ancient Greek and Roman sculptures. In his review of the exhibition for Brooklyn Rail, Jason Rosenfeld wrote, “…it is equally a rumination on male fragility, emasculation, helplessness in COVID, post-Renaissance priggish iconoclasm, and poor restoration techniques. Ultimately, the work signals a cautionary tale about societal and political hubris, forming a finely-weighted provocation.” Houston’s honors include an Illinois Arts Council Fellowship, a Pollock-Krasner Foundation Grant, and residencies at Yaddo, MacDowell and the Bemis Foundation. Houston’s work is in numerous public collections including the Allen Memorial Arts Museum, Oberlin, OH; MIT List Visual Arts Center, Cambridge, MA; RISD Museum, Providence, RI; Vehbi Koç Foundation, Istanbul, Turkey; and Yale University Art Gallery, New Haven, CT.  

Combining painting, drawing, sculpture, and writing, Daniel Correa Mejía (b. 1986) deftly mines imagery from his own subconscious to mythologize the landscape of his interior world. His highly symbolic figures personify various emotional states, becoming one with their scenery as contemporary society fades away and sacred, primordial knowledge is uncovered. Juxtaposing rich ultramarine with vibrant red on rough jute canvas, Correa Mejía invokes the complimentary nature of masculine and feminine energies to summon the divine power of contrasting forces. Embracing change within the natural cycles of life, Correa Mejía finds sanctuary within the power of the human imagination and the interconnectivity of our shared planet. The artist was born in Medellín, Colombia and lives and works in Berlin, Germany. His solo exhibitions include Soy el dueño de mi casa, P·P·O·W, New York, NY; Cuando el depredador está lejos: los pájaros canta, Maureen Paley at Studio M, London, UK; Lucrecia, mor charpentier, Paris, France; Soy hombre: duro poco y es enorme la noche, Fortnight Institute, New York, NY; Amor y Agua, Public Gallery, London, UK; and Die Klarheit, Colombian Embassy, Berlin, Germany. His work has been included in group exhibitions at Kunstverein Meissen, Denmark; Museo de Arte Moderno de Medellín, Colombia; Mendes Wood DM, São Paulo, Brazil and New York, NY; Pony Royal, Berlin, Germany; Fortnight Institute, New York, NY; and Galerie Crone, Berlin, Germany; among others. Mejía’s work has been featured in articles in Juxtapoz, Art Viewer, and Artnet, among others.  

A “documenter of the constellation of social life,” Martin Wong (1946-1999) developed innovative approaches to technique and form, creating rich surfaces and intricate details from astrology, architectural space, and various modes of language. Wong was born in Portland, OR and raised in San Francisco, CA. He studied ceramics at Humboldt State University, Arcata, CA, graduating in 1968. Wong was active in the performance art groups The Cockettes and Angels of Light before moving to New York in 1978. He exhibited for two decades at notable downtown galleries including EXIT ART, Semaphore, and P·P·O·W, among others, before his passing in San Francisco from an AIDS related illness. His work is represented in the collections of the Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, NY; Bronx Museum of the Arts, New York, NY; Whitney Museum of American Art, New York, NY; Cleveland Museum of Art, Cleveland, OH; Art Institute of Chicago, IL; San Francisco Museum of Modern Art, San Francisco, CA; and Tate, London, UK; among others. Human Instamatic, a comprehensive retrospective, opened at the Bronx Museum of the Arts in November 2015, before traveling to the Wexner Center for the Arts in 2016 and the UC Berkeley Art Museum and Pacific Film Archive in 2017. From 2022 to 2024, the first extensive, touring exhibition of Wong’s work in Europe, Martin Wong: Malicious Mischief, curated by Krist Gruijthuijsen and Agustín Pérez-Rubio, debuted at the Centro de Arte Dos de Mayo in Madrid, Spain traveling to the KW Institute for Contemporary Art in Berlin, Germany and the Camden Art Centre in London, United Kingdom before concluding at the Stedelijk Museum, Amsterdam, the Netherlands. In 2024, P·P·O·W’s The Midnight Sea, A Little Dash of LSD exhibited Wong’s work in dialogue with Canadian artist Paul P. Wong’s work was recently showcased in the two-person exhibition Twilight Child: Antonia Kuo and Martin Wong at the Frye Art Museum in Seattle, WA. In September 2025, a major retrospective of Wong’s work will be on view at Asia Society in New York, NY.