Galerie POPOP

Feedback forms the final chapter in a trilogy of exhibitions examining common threads in contemporary painting as they occur across different geographic and cultural contexts. Where Echo considered systems of reflection, memory, and residue within painting, and Reverb expanded these concerns through perception, distortion, and the material conditions of viewing, Feedback turns toward a state in which these systems begin to loop, overlap, and destabilize.

In its simplest form, feedback occurs when a signal is fed back into itself. Under controlled conditions, this can produce resonance or harmony; when unchecked, it results in interference, distortion, and collapse. Within the current image landscape—shaped by constant reproduction, algorithmic circulation, and increasingly unstable notions of authorship—feedback has become a defining condition. Images no longer settle. They return altered, fragmented, and often unrecognizable.

The works brought together in Feedback reflect this condition through processes that resist fixity. Systems repeat but do not resolve. Gestures accumulate without hierarchy. Images appear to fold in on themselves, caught between construction and erosion. In some cases, this manifests as density and overload; in others, as interruption, delay, or breakdown. Across these approaches, painting is no longer presented as a stable endpoint, but as something continually in formation, shaped by recursive processes both internal and external.

Feeback provides five exceptional artists the opportunity of a solo exhibition in a professional context, and under the umbrella of Pictura. All artists have been carefully considered and do not have current gallery representation.

Working with banks of found imagery—screenshots, newspaper clippings, video stills, and personal photographs—Ben Williamson constructs paintings that orbit central ideas across serialized bodies of work, where each image feeds into the next. Meaning is not fixed within a single composition, but emerges cumulatively, as fragments of personal and collective memory are reprocessed, recontextualized, and reinvested through repetition. In contrast, Heidi Daehler embraces a more intuitive and associative logic, allowing disparate subjects to coexist without predetermined hierarchy. Figures, objects, and environments drift between recognition and abstraction, guided by touch, material variation, and a willingness to relinquish control—producing images that feel as though they are discovered in the act of making, rather than resolved in advance.

This sense of permeability extends into Manuel Bisson’s paintings, where interior and exterior spaces collapse into one another. Semi-figurative forms, organic patterns, and architectural structures interweave to produce environments that feel both constructed and unstable, as though governed by a logic that is continuously unfolding. In these works, landscape is not represented, but metabolized— emerging as a shifting ecology where memory, emotion, and spatial experience are held in tension. Similarly, Ara Osterweil begins from direct encounters with natural phenomena—landscape, weather, atmosphere—but subjects these impressions to processes of staining, layering, and collage that disrupt any fixed point of origin. Chance becomes structure, and structure, in turn, becomes something provisional, open to continual revision.