Alexander Berggruen

Alexander Berggruen is pleased to present Gabriel Mills: The Great Collapse. Our second solo show with the artist, this exhibition will open Wednesday, October 22, 2025 with a 5-7 pm reception at the gallery (1018 Madison Avenue, Floor 3, New York, NY). Through distinctive approaches to process and color, Gabriel Mills’s paintings enigmatically reconcile material presence with atmospheric release. These two orbiting facets of his work have become further refined and idiosyncratic in this exhibition The Great Collapse. First, he audaciously maneuvers around the material conditions of oil paint by intentionally employing the various mishaps and failures that can happen when pushing the chemical makeup of paint to its presumed limits. Second, his unorthodox yet captivating approach to color results in unexpected, widely contrasting saturations and temperatures. Here, somber mixtures of ocher and umber are interspersed within an expanse of richly vivid hues, such as turquoise, lilac, and cerulean blue. These colors’ optical interactions produce an iridescent-like quality that marks many works in this exhibition. The contradicting textures and colors Mills paints imbue the surfaces with, in the artist’s words, “a union of weight and atmosphere.” The particulars of each painting’s forms emerge as a byproduct of the cascade of events that took place on its surface. For instance, closely inspecting Aejic reveals a small, worm-like texture that resembles the peaks and valleys of a mountain range. Clearly not the product of delineated mark making by Mills’s hand, this complex topography arose from overloading the paint mixture with an excess of linseed oil, which coils and warps into ridges and crevices as it attempts to oxidize over time. In Qephe, minute streams of paint trickle down as a result of low viscosity oil solutions that passed over still-drying, flat color. Further, large sacs of slow drying pigment have been carefully cut open and excavated, leaving the outer skin to be reintegrated and buried beneath fresh layers. Mills’s paintings are thus not solely defined by his own gestures, but by the behavioral dictates of oil and pigment as subject to his experimental methods. Every material action consequently leaves behind an entourage of scars and traces that compound to produce a surface so complex and tightly knit that it matches the variety, unpredictability, and material transformation of geological structures. In his largest works, the literal heaviness of abundant reserves of oil paint gripping onto a vertical panel is mediated by gently flowing gestures that, from a distance, carry a sense of weightlessness. Mills’s use of color similarly counters his paintings’ physicality, given that two colors of separate temperatures and intensities produce two different shifts in depth. The concentrated area of ultramarine blue in the center of Jeiourmyne, to name one example, visually recedes in space compared to the lighter, warmer surrounding colors that shift forward. The painting possesses a purely optical reality through the interaction of color alone; constructing not linear perspective but rather atmospheric perspective. This optical space extends into the painting, beyond its literal surface, just as the paint physically reaches out into the room to affirm the works’ material presence. Speaking about this quality, Mills stated: “The paintings are an embodiment of energy rather than a window into it.” Mills employs alternative strategies to achieve the same sensation of compression and release in his smaller paintings. Dense, impasto brushwork disperses into delicately combed lines and smooth, blended color in the diptychs Aeoas and Qymne. Likewise, the visceral, encrusted paint on either end of the triptych Aune finds its inverse in the soft rendering of clouds in the center. Despite alluding to the geological and the atmospheric, Mills does not strive for direct evocations of the natural world but more specifically to create an experience that parallels nature. His paintings, though varied in format and process, all possess an undeniable presence that holds energy and charge through the gradual accumulation—and occasional collapse—of material density. Mills’s core project is hence closely related to one of abstraction’s fundamental tenets, Symbolism, summarized by nineteenth-century French poet and critic Stéphane Mallarmé: “Paint not the thing, but the effect it produces.” (1) (1) Stéphane Mallarmé, letter to Henri Cazalis, October 30, 1864, in Stéphane Mallarmé, Œuvres complètes, vol. 1, ed. Bertrand Marchal (Paris: Gallimard, 1998), 663. Press release by British artist Matt Herriot. Gabriel Mills (b. 1992, New Rochelle, NY) received an MFA in Painting and Printmaking from the Yale School of Art, New Haven, CT and a BFA in Illustration and Art History from the University of Hartford, Hartford, CT. Recent solo exhibitions include Aunechei, The Nerman Museum of Contemporary Art, Overland Park, KS; Udaya, François Ghebaly, Los Angeles, CA; TIDSOPTIMIST, Micki Meng, San Francisco, CA; and Butterfly March, Alexander Berggruen, New York, NY. His work has been featured in group exhibitions at Museum of African Diaspora, San Francisco, CA; Museu Inimá de Paula, Minas Gerais, Brazil; K11 Musea, Hong Kong, CN; New York Historical Society, New York, NY; Green Family Art Foundation, Dallas, TX; François Ghebaly, Los Angeles, CA; Pelham Art Center, Pelham, NY; Galerie ISA, Mumbai; and Alexander Berggruen, New York, NY. In 2021, he was an artist in residence at MASS MoCA. The artist’s work is held in public collections including: The Nerman Museum of Contemporary Art, Overland Park, KS; The High Museum of Art, Atlanta, GA; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; The Institute of Contemporary Art, Miami, FL; The Green Family Art Foundation, Dallas, TX; New York Historical Society, New York, NY; Museu Inima De Paula, Minas Gerais, Brazil; and X Museum of Contemporary Art, Beijing, CH. Mills lives and works in New Haven, CT. This exhibition follows the artist's solo show Gabriel Mills: Butterfly March (October 19-November 19, 2022), the gallery's solo booth at The Armory Show (September 7-10, 2023), and his inclusion in the group shows Ted Gahl, Dustin Hodges, Gabriel Mills, Anna Ting Möller, Soumya Netrabile, Kaifan Wang (January 17-February 21, 2024) and Elana Bowsher, Vicente Matte, Gabriel Mills (June 2–July 14, 2021). Alexander Berggruen represents the artist. Gabriel Mills: The Great Collapse will run at Alexander Berggruen (1018 Madison Avenue, Floor 3) from October 22-November 19, 2025. The exhibition’s preview is available upon request. For all inquiries, please contact the gallery at info@alexanderberggruen.com. Gabriel Mills, 2025 oil on wood panel 48 x 48 in. (121.9 x 121.9 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Jonathan Peterson

Alexander Berggruen is pleased to present our second solo show with the London-based painter Sholto Blissett (b. 1996, Salisbury, UK). Sholto Blissett’s paintings explore the powers of nature and time through depictions of the strong forces of water. Notably absent from his new body of work is any semblance of human presence. Instead, the scenes in The white heat of cold water present a dramatic relationship between water and the land it carves. His imagined landscapes continue to probe at our constructed understandings of the natural world, challenging the ways humans are alienated from it and often take it for granted. Where Casper David Friedrich’s monumental landscapes acted as a tool for contemplating God and the sublime, Blissett’s landscapes act as a tool for questioning how we define reality. Sholto Blissett The white heat of cold water, vortex, 2025 oil on canvas 78 3/4 x 63 in. (200 x 160 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY.

The group show Purpose traces how contemporary and historic artists approach image-making with deep intention. This exhibition explores two primary approaches: repurposing culturally recognizable images and meticulously constructing imagery. These artists breathe new life into found imagery, employ digital manipulation, and/or use intricate craft techniques. Purpose surveys how images shape our identities and cultural memory, individually and collectively. The included works—paintings, sculptures, photography, and textiles—challenge the boundaries between creator and conductor, between viewer and consumer, and between process and product.

Alexander Berggruen is pleased to present Madeline Peckenpaugh: Chosen Places. This exhibition will open Wednesday, May 21, 2025 with a 5-7 pm reception at the gallery (1018 Madison Avenue, Floor 3, New York, NY). Madeline Peckenpaugh renders depth through iterations of adding and subtracting paint, creating a semblance of deep and flat space simultaneously. Probing the slips in perception between corporeal experience, memory, and imagination, she shifts the scale of everyday elements, interlaces components, and depicts forms in both single tones and fluctuating textures. The viewer’s trained perception of the landscape can become questioned, as monumental structures begin to vaporize, and natural forms become paper thin. There is a reconciliation of opposites: deep space of the real world with the flat space of the canvas. Madeline Peckenpaugh Held, 2025 oil on canvas 66 x 80 in. (167.6 x 203.2 cm.) Madeline Peckenpaugh: Chosen Places May 21-June 25, 2025 Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Philipp Hoffmann

Yuri Yuan’s landscape and interior paintings explore existential themes of longing and loss through ambiguous figure-ground relationships. While these themes could evoke melancholy, Yuan consistently offers a symbol of hope—often represented by light. Known for framing her work as either “looking in” or “looking out,” she deepens this concept in her solo exhibition Hide and Seek. True to her preference for open-ended narratives, Yuan leaves it uncertain whether her figures are hiding, seeking, or doing both simultaneously. Through visual symbolism, metaphor, and magical realism, she reveals how a subject’s surroundings can reflect internal psychological states. Yuri Yuan Soft Shadows, 2025 oil on canvas 60 x 72 in. (152.4 x 182.9 cm.) Yuri Yuan: Hide and Seek April 16-May 14, 2025 Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Daniel Greer