Mindy Solomon is pleased to present I Have No Body I Am Somebody, the first solo exhibition at the gallery by Zambian-born, Copenhagen-based artist Jack Kabangu.
Featuring a series of portraits rendered in his iconic, self-taught style, Kabangu introduces a dynamic and psychologically charged visual language. His figures — elongated, introspective, and subtly fragmented — exist in spaces that feel both intimate and unsettled, mirroring the layered nature of identity and displacement. Kabangu describes his practice:
“With these works, I focus on belonging, with particular attention to the body as something that remembers and carries experience. I start from the idea that the body holds traces of the places we have been and the lives we have lived. I am drawn to the moment when something familiar is moved out of its original context — when traditions shift and routines change.
My interest in this comes from my own story. I am the child of Congolese refugees, raised in Lusaka, Zambia, and later relocated to Denmark. At the same time, I felt that I lived a second life through film, music, and the internet. I was connected to Western culture long before I physically became part of it. This experience created a feeling of both belonging and standing outside at the same time — a sense of division, but also connection between different cultures. It is this dual feeling that I return to in the works. The exhibition reflects on the body as a place where history, loss, and curiosity exist side by side. On how we carry our experiences with us, and how they shift as we move between places and contexts.”
In I Have No Body I Am Somebody, Kabangu positions the body not as a fixed entity, but as a living archive, one that absorbs geography, memory, media, and migration. His portraits hold tension between presence and absence, interiority and projection, revealing how identity is continually reshaped through movement across borders, cultures, and imagined worlds. The exhibition invites viewers to consider the body as both witness and storyteller, a site where belonging is never singular, but layered, fluid, and in constant negotiation.
Mindy Solomon is pleased to present Cuerpos cósmicos: between the earth and the skies / entre los cielos y la tierra, a two-person exhibition featuring the work of Natalia Arbelaez and Daniela Gomez Paz. Both artists, of Colombian descent, share a resonant artistic dialogue grounded in cultural memory, spirituality, and the material and metaphysical connections between body and cosmos.
In this exhibition, themes of death, spirituality, and the cosmos intertwine with reflections on the physical body and its intimate relationship to the earth. Through distinct yet complementary practices, Arbelaez and Gomez Paz explore how histories — both personal and collective — are embedded in material, gesture, and form. Arbelaez describes her artistic practice as an ongoing act of research and reclamation:
“I use my work to research undervalued histories, such as Latin American, Amerindian, and Women of Color. I work with how these identities are lost through conquest, migration, and time, and gained through family, culture, exploration, and passed down through tradition, preservation, and genetic memory. In my research, I have found value in my histories and aim to help continue my cultures by preserving and honoring them.
I’ve embraced my use of craft and clay not only in my process but also in historical and cultural research. In studying lost, conquered, and overlooked communities, I have found that craft belongs in my pursuit. I relate to the role of the craftsperson — often linked to women’s work, the working class, and cultural tradition. The material also plays an important role as I examine the history of my ancestral materials. Terra-cotta, historically regarded as a lesser material, and Majolica glaze, brought from Europe and used to conceal terra-cotta, become metaphors I use to describe colonization.”
Through clay and glaze, Arbelaez engages material hierarchies as allegories for cultural erasure and resilience, elevating craft as both methodology and resistance. Gomez Paz approaches similar themes through fiber-based works that merge the corporeal with the ecological. She writes:
“I thread fibers as strands of information, exploring femininity and the porous boundaries between the body and nature. My process delves into the emotive terrain within myself, unearthing the vast fabric of being. Through both natural and synthetic fibers, I draw on dynamic, self-organized systems in nature, reflecting on how matter shifts, endures, and transforms over time.
My practice meets feminist theory with (auto)biographical imaginaries in a process that questions hierarchical constructs within the production of knowledge and vindicates diverse forms of resistance and subversion embedded in the complex fabric of feminized labor. Some works mirror the building of birds’ nests to navigate themes of care, protection, and precarity. Others empathize with the ways rocks take on living qualities, contemplating their movement and growth over deep time. I dwell in these worlds to craft liminal spaces and imagine emergent ways of being. I stitch color to suspend movement in place, capturing moments in flux — to document the undocumented.”
Together, Arbelaez and Gomez Paz construct a space where earthbound materials — clay, fiber, glaze — become conduits for cosmic reflection. Cuerpos cósmicos situates the body as both archive and vessel, suspended between sky and soil, memory and matter, loss and regeneration.
Mindy Solomon Gallery is pleased to present Stars in Your Eyes, the first solo exhibition by Sydnie Jimenez. In her second presentation with the gallery, Jimenez continues her exploration of the human condition through clay, utilizing the medium to bridge the gap between the mundane and the mystical.
The exhibition title, Stars in Your Eyes, serves as a linguistic pivot. It evokes the shimmering energy of passion and ambition while simultaneously nodding to the disorienting sensation of “seeing stars” — the dazed confusion that often follows a blow to the senses. For Jimenez, the eyes are not merely anatomical; they are the “windows to the soul” and the primary vessels for our perception of the universe.
Drawing on the universal language of celestial observation, Jimenez channels heavenly bodies through a recurring lexicon of symbolism: sun, moon, stars, and fire (the elements) as well as life, energy, and the inevitability of death (the cycle).
By applying these grand, cosmic themes to “mundane” figurative and functional forms, Jimenez addresses the raw risks of the human experience — the suffering, the joy, and the quiet moments in between. Jimenez’s work challenges the static nature of domestic objects. Through her “whimsical yet weighted” approach, she imbues the routine of daily life with animistic presence. For example, works like Sleep On It, 2026 invite the viewer into a shared moment of vulnerability and emotional resonance while the functional spirit of Blue Buns Head Table, 2026 transforms a piece of furniture into a work of sculptural art.
Whether through large-scale figurative sculpture or utilitarian vessels, Jimenez humanizes her medium by showcasing a vast range of body language, styles, and emotions, reminding us that even in the routine, there is a spark of the divine.
Mindy Solomon Gallery specializes in contemporary emerging and mid-career artists and art advisory services. The gallery represents artists working in painting, sculpture, photography, and video in both narrative and non-objective styles. The gallery program explores the intersection of art and design through an ongoing dialog between two and three-dimensional objects, while embracing diasporic voices. Utilizing the gallery space as a platform for inventive exhibitions, museum visitations, and public lectures, Solomon invites a sense of community and aesthetic enrichment.
Solomon founded the gallery in 2009 in St. Petersburg, Florida, where she established her reputation as a contemporary art dealer. She is a Board member of the Miami Art Dealers Association and is currently located in the Allapattah neighborhood in Miami.
