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Current exhibition: The Two Trees
@beatrizsantosart @j.szcze
2026.09.13 - 11.28
📩 [email protected]

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The exhibition “The Two Trees” by artists Beatriz Santos (b. 1996, Portugal) and Julia Szczerbowska (b. 1999, Poland)is now open at Gallery daSein. The exhibition will be on view until November 28, 2026.

@beatrizsantosart
@j.szcze

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Just as plants grow according to their own genetic patterns, artists develop their own narratives from the unique experiences of their lives. As these inner worlds unfold, they become modes of narration and part of the spirit that shape each artist. Metamorphosis allows experience to escape fixed signification, opening a path towards the unexpected power of the world. The distinct practices of these two artists reveal a scattered, hypertextual form of poetry and narration, ultimately tracing back to the moments of their lives. And so we return once more to Ovid, and to a scene in Metamorphoses in which a woman becomes a tree, here freely reimagined in the first person: "Her feet are rooted to the earth, a soft bark creeps up little by little and enfolds her groin; she makes a movement to tear her hair and finds her hands full of leaves.” by @gallerydasein

Gallery daSein is greatly honored to present The Two Trees, a two-person exhibition featuring recent works by Portuguese artist Beatriz Santos (@beatrizsantosart) and Polish artist Julia Szczerbowska (@j.szcze).

The Two Trees was originally the title of a poem by W. B. Yeats. Like the“trees” in Ovid’s work, the title has departed from its origin. It is not intended to retell Yeats’s poem, but to serve as a cue: to reveal the two artists‘ distinct poetic growth, and to honour their juxtaposition and their journey alongside one another.

Placing the works of Beatriz Santos and of Julia Szczerbowska together in the same space therefore amounts to more than coexistence of same gender. Through genealogical resonances, their juxtaposition allows established narratives of women to undergo ”metamorphosis“ once again, forming a secret alliance under the sign of difference.

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The exhibition will open on September 13, 2026 and remain on view until November 28.

Poster design by @j.hlim by @gallerydasein

@araisatoko.yoshiashi :"I think that, through both writing and painting, I have always been searching for something that exists between words and between forms—something that is difficult to articulate with precision. Even if, in the end, I manage to clarify it through my work, what lies within may still turn out to be nothing more than something small, perhaps even rather mundane."

P1:
Beyond My Control
oil on canvas, 14 × 19 cm, 2026

P2:
いほうやくぶつ Illegal drugs
はっきりという Straight Talk
つめたいカフェオレ Ice latte
oil on canvas, 27 × 46 cm, 2026

P3:
The Soft of Soft
oil on canvas, 33 × 53 cm, 2026 by @gallerydasein

@araisatoko.yoshiashi ：”Since the very beginning of my practice, I have always started a work from something extremely small. I want to render these trivial things with earnest care, yet in the final piece, the meanings they carry only grow more elusive.

The entry point for these minute subjects varies—sometimes it comes from lived experience, sometimes from a simple intuitive response to a particular color or form. When a work does stem from personal experience, I consciously avoid letting the emotional undertones surface too overtly in the finished piece.“

Sweer Sakura Shrimp
oil on canvas, 53 x 41 cm, 2023 by @gallerydasein

@araisatoko.yoshiashi :” Translation of Arai Satoko's work: Additionally, I have always had a certain resistance to the act of "drawing lines." Whether in this work about hands or when depicting other subjects, I do not use lines to outline contours; instead, I deliberately leave unpainted areas to bring forth form. I believe that how one handles the edges of these blank spaces determines the final impression the work gives. Both physical sensations and psychological states seem to manifest themselves along these edges.“

The Hand
oil on canvas, 91 × 65 cm, 2026 by @gallerydasein

Arai Satoko @araisatoko.yoshiashi

Born in 2001, Kanagawa Prefecture, Japan. Currently lives and works in Tokyo. She graduated with a bachelor's degree in 2024 from the Oil Painting Department of Musashino Art University. Arai records things she notices that interest her (sometimes even her own spoken words) on a daily basis and creates poetry based on these notes, which she then translates into oil paintings and charcoal drawings. Arai believes that a word is not represented by its meaning but by the matters around it. Words that hold completely different meanings can also relate to and overlap with each other. Each word has its own unique attributes, yet they undergo multiple transformations when juxtaposed with other words. She endeavors to explore and express the genuine states that exist between meanings through her poetry and paintings.

Recent exhibitions include: Spelling, Gallery daSein, Shenzhen (2024); Okomeno (solo), Euso Gallery, Tokyo (2023); New Wave (group), Chigasaki City Museum of Art, Kanagawa (2021); and Notenote (solo), Gallery Kasutela, Tokyo. Arai currently teaches at Musashino Art University and has published a poetry collection titled Yuri-San is Beautiful. by @gallerydasein

@rossmhead :” Linear mark making appeals to me because of its directness. A lot can be said with a single line, and I'm interested in how a line can suggest emotion, vulnerability and desire without fully describing a body. Rather than modelling volume or aiming for realism, a line allows the figure to remain open and expansive, leaving space for the viewer to bring their own interpretations.

My drawings also draw on queer archival material and the traces of queer histories. I'm interested in how images carry memory and gestures, poses or ways of looking can survive across time, even when histories have been overlooked or erased. Using line in this way feels like an appropriate language for that because it captures something ephemeral: a presence that is there, but never fully resolved.“

Holding the Break
oil on canvas, 150 × 120 cm, 2024 by @gallerydasein

@rossmhead :”I‘m interested in portraiture as a space of connection rather than representation. I’m less concerned with capturing a faithful likeness than with creating an encounter between the figure and the viewer. The gaze plays an important role in that. Many of the figures look directly back, meeting the viewer with a sense of confidence and openness. They‘re not passive subjects to be consumed; they’re active participants in the exchange.

That inevitably creates a shifting power dynamic. The viewer is looking, but they‘re also being looked at. I’m interested in that moment of reciprocity, where the act of viewing becomes something more self-conscious. It asks the viewer to consider not only who they‘re looking at, but how and why they’re looking.

There‘s also something unapologetic about the figures. They occupy the picture plane on their own terms, expressing desire, vulnerability and intimacy without shame. Rather than presenting a fixed identity or narrative, I want the portraits to remain open enough for viewers to recognise something of themselves within them, making the experience feel less about observation and more about connection.”

P1:
Hungry Eyes
oil on canvas, 145 × 120 cm, 2025

P2:
Vanish Into You
oil canvas, 150 × 120 cm, 2025 by @gallerydasein

Ross Head @rossmhead

Born in 1984, Shropshire, UK. Currently lives and works in London. He holds an MA in Painting from the Slade School of Fine Art, UCL in 2024, and a BA in Printmaking from the University of Brighton in 2006.

Head is interested in the ways that desire is performed and expressed. He explores queerness, masculinity, gender and body image, and exploits the narrative potential of painting to activate those stories. Head avidly collects images and draws upon film stills, archival imagery and sports photography. Drawing on the relationship that homosexuality and other non-normative identities have with modern and contemporary architecture, his works contain an element of fantasy and celebrate theatricality. Head sits on the Artist Council for a-n: The Artists Information Company. by @gallerydasein

@resonantanpa “Over time I've simply developed a way of working that involves scratching, pricking, scraping away and repairing. To me, those are all productive gestures. A puncture, for example, is no more or less a mark than a brushstroke. Because these gestures have become so ordinary within my own practice, I sometimes forget that they can still seem disruptive. A pin through a painting feels like such a modest act, yet it continues to carry a surprising amount of meaning. Stepping back, I suppose the work has always circled around a tension between order and disorder, control and letting go. I'm interested in seeing what happens when a painting is disrupted, not because I want to destroy it, but because the disruption often produces something I couldn't have anticipated.“

P1:
Coopoil on paper, 68 × 51 cm, 2026

P2:
Tele
oil on paper, 72 × 51 cm, 2025

P3:
Para
oil on paper, 64 × 45 cm, 2025 by @gallerydasein

@resonantanpa “It's another pointlessly private rebellion against the way value is attached to certain materials and forms of labour over others. But I also use those tools because they do what I want them to do, and because I see a connection between cleaning and painting.

I build up paint and then scrape it away again. It feels more like removal and restoration than construction.
For a long time I was very influenced by Henri Bergson. I liked the idea that everything is already there, and that meaning is uncovered rather than created. I still recognise something of that way of thinking when I work.”

P1:
Romance
oil on paper, 102 × 68 cm, 2020

P2:
City
oil on paper, pins, 102 × 72 cm, 2023

P3:
Lattice
oil on paper, patinted screws, washers, 102 × 72 cm, 2025

P4:
Splits
oil on paper, 102 × 72 cm, 2026 by @gallerydasein

Anna Paterson @resonantanpa

Born in 1989, London, UK. Currently lives and works in London. She received her postgraduate diploma from the Royal Academy Schools (London) in 2016. Paterson explores experimental processes of image-making on paper, incorporating techniques associated with printmaking, domestic cleaning and painting. Layers of paint are repeatedly removed and reapplied with wire wool, sponges and rags; destructive and constructive gestures made equivocal. Paterson treats the paper‘s surface as a plane of optical and emotional experience, a fragile reality that can be easily altered or disturbed, oscillating between compositional order, disorder, expansion, and containment.

Recent exhibitions include: Daybook, Patricia Fleming Gallery, Glasgow(2026); Losts, Palio, Cape Town (2024); Hearts, Lungley Gallery (2022); Wastebook, Mackintosh Lane, London (2022); Rvr, Turner’s House, London (2021); and Goodbye Sun, Hope, London (2019); The 12th House, The White Ermine, Düsseldorf (2025); exocarp, Calico, London (2024); Formes, Galerie PCP, Paris (2024); White Trash, The White Ermine, Düsseldorf (2024); From Transparent Juices, Lungley Gallery, London (2023); Double Dream, Mackintosh Lane, London (2020); Dream 1, Vermland, Copenhagen (2020). Paterson was Artist in Residence at Turner’s House, London (2021–2022) and Nordisk Kunstnarsenter Dale, Norway (2019). She was awarded the Agnes Ethel Mackay Painting Prize (2016) and the Albert Irvin Painting Prize (2016). by @gallerydasein