In Tokyo, Marina Perez Simão presents a body of recent paintings that confirm the establishment of a pictorial language now firmly rooted among the leading voices of contemporary abstraction. Created between 2024 and 2025, her canvases are an extension of her research in which landscape is no longer a motif to be recognized, but a mental structure, a mode of organizing perception and space.
In this new series, horizons multiply, fragment, and shift. The canvas becomes an open, sometimes unstable field, inviting the viewer to reconsider their points of reference. This disruption of the traditional landscape axis is part of Marina Perez Simão's artistic vocabulary, but here it takes on a more pronounced dimension. Verticality and horizontality interact to redefine the internal flow of the image and create an immersive experience.
Color plays a central role. Indigo dominates the series, echoing the Japanese history of dyeing, but above all serving as a structuring chromatic base. Reds and pinks are then applied to this deep hue with rapid, sweeping strokes, creating areas of intensity that rhythmically punctuate the pictorial surface. The light never emanates from a specific point: it seems to emerge from the material itself, as if the canvas were radiating from within.
The working process remains rigorous. Drawings, watercolors, and studies precede each canvas, ensuring a coherent structure despite the apparent spontaneity of the gesture. Attentive to history without ever submitting to it, Marina Perez Simão absorbs its influences in order to transform them. In her Tokyo exhibition, she explores a landscape that describes nothing, but rather orchestrates an experience made of tensions, vibrations, and internal rhythms. These works mark a significant stage, affirming a new maturity while retaining the element of the unknown that constitutes the strength of her painting.
Marina Perez Simão
PaceGallery
Azabudai Hills Garden Plaza 1F, Tokyo (Japan)
From an expanded landscape to a fragmented landscape
Moving from the canvases of Marina Perez Simão to those of Noa Gosley, we find common ground in both: they both employ abstraction to transform memory into an inner landscape. Yet, their works are distinguished by contrasting chromatic and emotional foundations. Where the former unfolds vast horizons, structured by deep and assertive colors, the latter favors a more muted palette, composed of subdued pinks, calm blues, and discreet burgundies, evoking the vineyards of her Bordeaux childhood.
This interplay of echoes and contrasts justifies their mirroring: two artists, two trajectories, two ways of inhabiting abstraction, but the same need to paint what landscapes leave in us – not as an image, but as a persistent sensation.
Noa Gosley: fragmented memory, an inner landscape in the making
In Noa Gosley's work, landscape never appears as mere scenery, but as a reminiscence in the making. Born in Bordeaux in 1999 and now living in Israel, the artist develops an abstraction nourished by displacement and the coexistence of multiple places and times. Her painting becomes a space for negotiation between what remains and what transforms.
Her canvases come to life in fragments, in successive layers, as if memory refused any definitive fixation. Supple curves, restrained lines, and chromatic halos compose a visual vocabulary that owes as much to drawing as to writing. Each gesture seems to correspond to a thought in the process of forming, to an attempt to hold onto what, by its very nature, eludes us.
Childhood memories are a shifting raw material: a sky glimpsed too early to be clearly identified, a Bordeaux facade, a luminous sensation. These fragments never return unchanged; they overlap, distort, erode, forming a fragile emotional map. Painting becomes a place where memory wavers between appearance and disappearance.
Color acts as a guide. Noa Gosley's palette—pale pinks, muted blues, deep burgundies—functions as an emotional register. Each hue attempts to capture a feeling before it slips away again. The materiality of the paint, enhanced by the use of pastel, printmaking, or embroidery, lends her works an almost tactile presence, as if the past still retained a physical weight.
For Noa Gosley, uncertainty is not a lack but a strength. Her painting, in perpetual evolution, transforms fragility into territory and makes the inner landscape a living, open space, constantly reinventing itself.
