News | Anaïs Horn Portfolio

P.A.D. x NADA NY Sonya Derman // Anaïs Horn

NADA New York

May 7–11, 2025

The Starrett-Lehigh Building

601 W 26th Street, 3rd Floor

New York, NY 10001

(Enter on 11th Avenue)

Wednesday, May 7, 4–7pm

Thursday, May 8, 11am–7pm

Friday, May 9, 11am–7pm

Saturday, May 10, 11am–7pm

Sunday, May 11, 11am–5pm

For NADA New York 2025, P.A.D. presents a two-person booth featuring textiles by Sonya Derman and

photographs, copper engravings, and jewelry by Anaïs Horn. Traversing practices traditionally relegated to

distinct corners of craft and fine art, these artists play with tradition and decoration as they explore cultural

tropes, ritual, and the connections between past and present.

Anaïs Horn, Love, never ask (Barbe-Bleue), 2025, copper engraving on Hahnemuehle paper, 24 × 30 cm (9.4 × 11.8 inches), signed and numbered edition of 8 (+ 2 AP), in artist’s frame.

Sonya Derman’s work is rooted in the daily practice of drawing and writing, and in the quotidien. For the work

exhibited at NADA, she integrates drawings, scanned sketches, and digital paintings into the fabric of the textiles

she produces. Derman combines original and found text into layers of associative imagery, creating a

collage-like and multilayered surface of appliqué, embroidery, found and painted fabric, and hand quilting. Using

a foundation fabric (often a digital painting or resonant fabric scrap) as source and spark, she digests and

repurposes source materials to vacillate between legibility and illegibility, and to navigate the distances between

private memory, self-talk, and public pose/performance.

Anaïs Horn’s cross-genre approach to making interweaves personal narrative, myth, and historical inquiry, while

exploring themes of female empowerment and transformation. Love, don’t ask, 2025, is a series of copper

engravings that explores interpretations of the Bluebeard fairy tale. Drawing from Gustave Doré’s illustrations for

Charles Perrault’s La Barbe bleue and Béla Bartók’s Bluebeard’s Castle, Horn adopts Judith’s courageous gaze

as she unlocks the forbidden doors of Bluebeard’s castle, framing her exploration as a fearless act of feminine

autonomy. The title, borrowed ironically from Bartók’s libretto, underscores Judith’s imposed role of surrender,

suppressing curiosity, and resisting the urge to see. The copper engraving technique, historically tied to the

printed dissemination of fairy tales, anchors Horn’s works within a broader storytelling tradition.

Being connected through Bluebeard’s secret treasure chamber, Horn unveils her new collection of Colliers. The

unique necklaces, hand-crafted from semi-precious stones, sweetwater pearls, vintage jewelry, and recycled

sterling silver, extend Horn’s artistic practice into wearable forms. Each collier incorporates talismanic elements,

referencing Horn’s ongoing research into amulets and the "evil eye"

Alongside, Call A for Aphrodite features a photographic work of sparrows in flight, messengers of Aphrodite in

Greek mythology. Printed on mirrors, the work embodies the tension between mythological symbolism and

fleeting moments, navigating between revelation and concealment, while creating an active, everchanging

dialogue between her works and their environment. All of these works encapsulate a central tension in Horn’s

practice: the interplay between presence and absence, and the traces that remain of what is missing.

P.A.D. is an art exhibition space in historic SoHo (South of Houston) Arts District in New York City. It reflects the

bustling economy of artists making, selling and promoting their artworks on the street year-round, weather

permitting. The aim of the space is to platform small and editioned works by artists that are interested in

embracing new contexts for exhibiting.

Eilert Asmervik & Anaïs Horn NOTHING IN THE WORLD IS SINGLE at Easter, Collesino

Easter presents

Anaïs Horn

Eilert Asmervik

NOTHING IN THE WORLD IS SINGLE

20.4.–4.5.2025

Opening: Saturday, April 19.2025, 13-20 h

Collesino Chiesa, MS, 540 21

They say that when you live in the mountains long enough, you begin to see over the corner. They say it helps uncovering a true love-or at least being very suspicious. Lunigiana is full of these quiet contradictions. A region

of soft borders, where one thing leans to another and time slips between geology and myth. What appears stable begins to move (yes, a landslide joke). Somehow we find ourselves here and this peripheral place became a site of

intensity. Like a Deleuzian assamblage, gestures, materials, bodies, memories—held not by structure, but by their mutual proximity.

As other romantics, Shelley passed through this terrain, towards the Ligurian coast where his body would later be returned to the sea. “Nothing in the world is single,” he wrote—maybe not as a metaphor, but as an observation. It’s a way of understanding how everything is bound together. Here love unfolds less as a feeling than as a structure:

it becomes something relational, something that grows from the interconnection of things, not their separation. Stones lean on each other. The logic is not linear and so is not the weather.

The exhibition of Anaïs Horn and Eilert Asmervik begins from that premise. Paintings, wax sculptures, etchings—all loosely aligned, often unstable—form a kind of landscape. Forms lean, melt (literally), a gesture dissolves in repetition, everything touches. As we get back to Shelley, the moon isn’t just the moon, the bird isn’t just the bird—they are what happens when things are allowed to exist together in tension, without needing to become something else. It’s not about finding the point where everything comes together; it’s about experiencing the space where everything is still shifting.

adam vít

Easter is a newly open non-profit artist run space, dedicated to maintaining vitality and cultural discourse in the rural landscape. The project is run by Adam Vít and Sofie Tobiášová and it is located in Collesino Chiesa, a mountain village in the Lunigiana region of Northern Tuscany. The exhibition Nothing in the World Is Single will be open from 20.4.–4.5.2025 by appointment via email tobiassofie@gmail.com or via Instagram @goodmorning_easter

Dreamers included in NADA Curated by Fitsum Shebeshe As it Unfolds

As it Unfolds

Curated by Fitsum Shebeshe

Online Exhibition

March 13 – April 15, 2025

https://www.newartdealers.org/programs/nada-curated-by-fitsum-shebeshe/as-it-unfolds

As It Unfolds explores human transformation as a continuous and evolving process shaped by the interplay of time, memory, and experience. This exhibition brings together a diverse group of artists whose works delve into the multifaceted processes of becoming—whether personal, collective, or imagined—manifesting through various narratives and forms. Rather than presenting change as a fixed state or linear progression, it considers transformation an open-ended continuum, influenced by historical contexts, possibilities, and inherent uncertainties. Thus, transformation is perceived not as a final destination but as a dynamic interplay of emergence, dissolution, and renewal.

Through mediums such as painting, photography, sculpture, and digital media, the participating artists investigate the nuanced boundaries between permanence and impermanence. Some engage with archival materials and historical narratives, illustrating how the past resonates within the present and informs speculative futures. Others employ abstraction, utilizing texture, repetition, and fragmentation to convey the fluidity of time and the ephemeral nature of existence. Each piece offers a distinct perspective on transformation, highlighting deeply personal aspects while connecting to broader cultural and historical contexts.

As It Unfolds navigates the liminal space where past and future converge, presence and absence intertwine, and the familiar transitions into the unknown. Reflecting on transformation as a continuous, evolving process, the exhibition fosters an ongoing dialogue that extends into the broader spectrum of everyday life.