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APRIL 26 - JUNE 8, 2025
In Time Between Echoes, Hans Neleman presents a new body of work that integrates collage, assemblage, and printmaking—layering fragments of history to evoke a dialogue between memory, myth, and taboo. Through this interplay, his work challenges the notion of time as linear, instead revealing it as cyclical, fractured, and resonant—much like the echoes of antiquity that permeate the present.
This space between “echoes” is where historical fragments and contemporary questions collide. Here, the echo of an ancient sculpture meets the pulse of modern thought. Neleman’s practice amplifies explicit depictions of the body—once commonplace in Roman art but now often met with discomfort or censorship. Through this amplification, he challenges moral constructs and cultural taboos, reactivating what history once accepted but the present may reject.
The exhibition also includes experimental monoprints, paper lithographs, and painted monotypes—works that blur the boundaries between reproduction and originality, allowing printed matter to extend Neleman’s collage-based language.
APRIL 26 - JUNE 8, 2025
In Time Between Echoes, Hans Neleman presents a new body of work that integrates collage, assemblage, and printmaking—layering fragments of history to evoke a dialogue between memory, myth, and taboo. Through this interplay, his work challenges the notion of time as linear, instead revealing it as cyclical, fractured, and resonant—much like the echoes of antiquity that permeate the present.
This space between “echoes” is where historical fragments and contemporary questions collide. Here, the echo of an ancient sculpture meets the pulse of modern thought. Neleman’s practice amplifies explicit depictions of the body—once commonplace in Roman art but now often met with discomfort or censorship. Through this amplification, he challenges moral constructs and cultural taboos, reactivating what history once accepted but the present may reject.
The exhibition also includes experimental monoprints, paper lithographs, and painted monotypes—works that blur the boundaries between reproduction and originality, allowing printed matter to extend Neleman’s collage-based language.