5 Artists on Our Radar in March 2025

“Artists on Our Radar” is a monthly series focused on five artists who have our attention. Utilizing our art expertise and Artsy data, we’ve determined which artists made an impact this past month through new gallery representation, exhibitions, auctions, art fairs, or fresh works on Artsy.

B. 1988, Rio de Janeiro. Lives and works in Rio de Janeiro.

Inspired by the visual elements of Brazil’s suburbs and favelas, Rio de Janiero–based artist Agrade Camíz’s lively works investigate physical and social boundaries. The artist’s practice is rooted in the streets: Early in her career, she painted public murals, using the large-scale format to draw attention to issues in her community such as social mobility and oppression. In more recent works, Camíz employs expansive canvases, dappled with bright swathes of color and often overlaid with patterns alluding to fences, wheels, and vines. Many of Camíz’s works employ grids, suggesting a city plan viewed from above—another nod to the architecture of separation. But glimpses of the human form also appear in her semi-abstract works, suggesting the lives that move through and around these boundaries.

Camíz is currently included in a group exhibition, “Formas Das Aguas,” at Museu de Arte Moderna in Rio. Her featured work is based on her observations taking the 474 bus in Rio—a route that travels from a favela in the north to wealthy neighborhoods near the sea, traversing social and class divisions.

Camíz’s work is also on view in a solo presentation with Brazil-based gallery A Gentil Carioca at ARCO Madrid. She has shown in exhibitions at Mariane Ibrahim in Mexico City, Instituto PIPA in Rio de Janeiro, Gasworks in London, and elsewhere.

—Isabelle Sakelaris

B. 1983, Auckland, New Zealand. Lives and works in Mexico City.

Working across installation, painting, murals, sculpture, and film, multidisciplinary artist Aaron Glasson operates a broad practice united by its investigation of nature and ecology. These are themes that the New Zealander approaches from different angles across various projects, from repurposing desert cabins to experiments with natural pigment. They have also led the artist from figuration into a more abstract, organic visual language in which he employs geometric forms.

These forms were prominent in recent works presented by Mexico City gallery MAIA Contemporary at Zona Maco last month. In a series of totemic sculptures and transcendental paintings, Glasson homed in on the motif of interconnectedness between humanity and nature. In Sun (2024), for instance, circular arrangements and radiating beams emphasize the star’s power, which extends outward to fuel life on Earth. The artist’s choice of pigment—oil and beeswax—references an undergirding relationship to the natural world.

Glasson earned his bachelor’s degree in art and design at the Auckland University of Technology in 2005. He has exhibited extensively, including in recent solo presentations at Louis Buhl & Co. in Detroit and MAIA Contemporary, along with recent group presentations with Harman Projects in Los Angeles and SUN.CONTEMPORARY in Bali.

—Arun Kakar

B. 1941, New York. Lives and works in New York.

In the summer of 1969, Pat Lipsky spent her days working with water-soaked canvases, applying paint in frenetic splatters and smears. A stone’s throw from the home of fellow abstractionists Jackson Pollock and Lee Krasner on Long Island, New York, the painter experimented with her first wave paintings. These works were characterized by chromatic, gestural brushstrokes that undulated across her canvases—a technique that Lipsky, now 83, is revisiting in a new series. These works are on view in Los Angeles through March 22nd in “That Which We Are” at James Fuentes, which announced its representation of the artist in January.

Fuentes also showed three of Lipsky’s wave paintings at Frieze Los Angeles last month, in one of Artsy’s favorite booths at the fair. The booth reflected the full-circle moment in the artist’s career: Chrysanthemum (1971), a bending gradient of reds, greens, oranges, and blues, was displayed alongside a newer wave painting, Message (2023), with similarly undulating bands of yellows, reds, and blues.

Lipsky earned a BFA from Cornell University in 1963 and an MFA from Hunter College in 1968, and had her first solo exhibition at André Emmerich Gallery in 1970. A 2023 solo show staged by Eric Firestone Gallery shed new light on her largely underrecognized career. James Fuentes is planning another solo exhibition for the artist in New York later this year.

—Maxwell Rabb

B. 1960, Florence, Italy. Lives and works in Italy.

Bowls of soup and cluttered tabletops create the familiar moments that fill Beatrice Meoni’s oil paintings, evoking warmth and comfort. In the decades since she began painting, the Italian artist’s practice has shifted focus from fragmented figures to detailed interiors, reflecting her exploration of the medium’s possibilities. Her work was recently featured in a group presentation at Arte Fiera Bologna with Cardelli & Fontana, which represents her.

Meoni’s previous experience as a scenery painter and designer for theatrical productions is evident in her compositions, which prioritize setting over narrative and are often devoid of human figures. In Prima di cena (2024), for example, loose brushwork is used to create a distinctly poetic composition. With a radiant palette and impressionistic strokes, Meoni captures a cozy kitchen interior, featuring a dinner table mid-preparation and sunlight filling the space.

Born in Florence, Meoni studied foreign literature prior to pursuing art. She has exhibited both in Italy and internationally, and her work is included in a current group show, “Intorno alla stella,” at Nashira Gallery in Milan.

—Adeola Gay

B. 1980, Melbourne. Lives and works in Sydney.

Ebony Russell’s ceramics are, in a word, scrumptious. The Australian artist uses a piping method borrowed from the world of cake decorating to create elaborate, highly textural sculptures that riff on art historical forms—and look good enough to eat. These include her grotto sculptures, a series of small porcelain shrines featuring Virgin Mary figurines, and her vases and Grecian urns in powder blues and baby pinks. A selection of the latter were recently shown in Cynthia Corbett Gallery’s presentation at Collect, a leading contemporary craft fair in London.

Among the most decadent and technically impressive of these works is Loutrophoros: Ritual Urn Couple in Pink and Red (2024), which comprises two urns resting atop a pair of pillars that appear to be made from stacks of meringues. Scarlet bows and frills adorn the column bases and the vessels’ ornate handles. With these feminine-coded decorative forms, and her use of traditionally gendered craft and culinary techniques, Russell offers an exuberant celebration of women’s creative labor.