Bongcloud Attack

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Exhibition No. 1

Bongcloud Attack

Curated By Edith Doove, PhD

October 1, 2026 9:00 pm

Taking its title from an unconventional chess opening, Bongcloud Attack brings 12 works into a playful exchange. Moving between abstraction and figuration, text and image, vulnerability and humour, the exhibition draws energy from unexpected collisions—revealing new connections between artists, ideas and ways of seeing.

Patrik Dvorščak

A self-structured disordering

In A Self-Structured Disordering, handwritten text, blocks of colour and attached paper accumulate across the surface, creating the feeling of thoughts gathering faster than they can be resolved. Some of the Slovenian writing even appears to spill beyond the composition’s edge. Whether or not we can read it, the text has a presence of its own—functioning as language, image and rhythm while drawing us into a fragmented space shaped by uncertainty, intuition and the unconscious.

Diana Hyslop

Beyond the Canvas

A premium mixed-media artwork with layered textures, handcrafted details, and a gallery-quality finish.

Lisa Pettibone

Contraction

Folded glass held in tension by string, as though the material is being pulled toward collapse. The fold has already taken shape through the glass's own process — the string calls attention to that pressure rather than causing it. A quiet study in restraint and resistance.

Diana Hyslop

Crimson Motion

A bold abstract painting using rich crimson shades and expressive brush strokes to represent energy and emotion.

Lisa Pettibone

Emerge 1

Glass forms rise from the surface as if pressing through from beneath, shaped by the memory of heat and pressure. A fluorescent yellow backing casts a reflected glow, giving the colour a felt, atmospheric presence. The work shifts with the viewer's position — light and shadow revealing new depths as one moves around it.

Diana Hyslop

From Above

In From Above, Diana brings human figures, cats, leopard markings, repeated eyes and protective presences into a composition that seems to occupy several pictorial planes at once. Like a storyboard, the painting offers fragments of a narrative without telling us precisely how they fit together. The eye moves continually between its characters and symbols, discovering relationships that remain open to interpretation—and may shift each time we return to the work.

Diana Hyslop

Golden Silence

An elegant artwork combining gold leaf details with monochrome textures, creating a timeless luxury aesthetic.

Tarik Chebl

Island Fragment

In Island Fragment, Tarik Chebli moves toward a more abstract and object-like language. Poured and accumulated paint creates a dense, topographical surface, where colour and material seem to settle into islands, channels, and geological formations. Rather than depicting nature directly, the work approaches it through texture, mass, and viewpoint. Seen almost from above, the painting suggests a terrain in formation: part image, part relief, part imagined fragment of an ecological world. This material intensity sits at the centre of Chebli’s practice, where nature becomes a way to explore paint as substance — layered, physical, and suggestive of mud, water, bark, vegetation, and shifting ground.

Seth Bauserman

New Pastures #5

New Pastures #5 is part of Seth Bauserman’s ongoing series drawing on images taken from the artwork of his young daughters. Working with acrylic paint and pastel on transparent Kitakata paper over wood panel, Bauserman layers and abstracts these source images to explore innocence, memory, time, and familial identity across generations.

Diana Hyslop

Ocean Reflections

Inspired by coastal landscapes, this artwork blends soft blues and whites to create a peaceful, immersive atmosphere.

Tommaso Fattovich

Osteria II

Osteria II is built through layers of addition and removal, beginning with an older oil painting partially covered in white acrylic. Tommaso then draws the figure in pencil, lifts sections of the acrylic with industrial tape to reveal the earlier painting beneath, and adds further oil paint to soften and disrupt the boundaries between figure and background. The result is a compressed, unstable space in which the seated figure feels both present and partially dissolved, hovering between observation and memory.

Sonia Martins Mateus

Plastic Birds Wall

Sonia Martins Mateus’ Plastic Birds is made through painting bleach on black linen, where the image is revealed by removing, biting into, and transforming the surface rather than adding colour to it. The work holds a compressed, frontal space. Pale ochre forms rise out of the dark ground, while looping, wire-like marks and a dense horizontal structure create a feeling of blockage or containment. The black remains active throughout the image, so that even the areas of light seem to carry shadow beneath them. Across Martins Mateus’ practice, landscape is not only a place to look into, but a structure shaped by memory, territory, displacement, and material force. In Plastic Birds, that question becomes direct: the painting offers an image, but also resists entry.

Seth Bauserman

Prayer OH GOD

Guttural Prayer / OH GOD layers graphic text over an acrylic form drawn from a sketchbook page by Seth Bauserman’s two-year-old daughter. Made with transparent glassine and mulberry paper, the work uses layering to bring ideas of childhood innocence, memory, mortality and familial identity into tension with a distinctly adult perspective.

Norman O'Flynn

The Batmobile

In The Batmobile, a toy-like Batman is folded into the form of his equally toy-like vehicle, becoming a comic image of his own. Painted in Norman’s intricate reverse-plexiglass technique, the familiar cultural icon is lifted out of context and set against loose, swirling colour. The result is playful and humorous, but also wonderfully strange—creating the kind of visual “noise” Norman uses to disrupt familiar images and send the viewer towards unexpected associations.

Wonder

The Curve

In The Curve, a bending road draws the eye into the distance before beginning to blur and break down. Wonder painted this landscape from memory after travelling through the Karoo and Eastern Cape, working not from a photograph or drawing, but from what remained afterwards. The curve gives the painting a clear sense of movement, while the surrounding haze makes the scene feel less like a fixed place than something being recalled—its beauty carrying a subtle undercurrent of uncertainty and exposure.

Diana Hyslop

Velvet Shadows

A sophisticated monochromatic artwork with subtle gradients and elegant contrast, designed for modern luxury spaces.

Final Reflection

As Salon opens its inaugural exhibition, we’re excited to see where this first chapter leads. Bongcloud Attack is about taking a chance, entering the game, and discovering what can happen through unexpected connections. We hope collectors who find us here will join the artists, critics, curators and fellow collectors already shaping Salon—and perhaps make a first move of their own.

Upcoming Exhibition

Bongcloud Attack

Curated By
Edith Doove, PhD

September 24, 2026 6:00 pm

Upcoming Exhibition

No. 2 — Small Disturbances

Upcoming Exhibition

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