Enth Projects

Activated through the body, the mask re-enters the landscape from which it originates. The figure dissolves into its surroundings— suspended between visibility and concealment. Branas’ work unfolds through acts of embodiment, where identity is not fixed but performed, fragmented, and displaced. The eucalyptus leaves carry histories of extraction and control. Worn on the body, they become a second skin—absorbing and resisting these conditions at once. What emerges is a body in transition— neither fully subject nor object, but shaped through its entanglement with environment and context. A moment of becoming, held in flux. Przemek Branas “Eucalyptus Mask” 2021 Inkjet print 40 x 30 cm #EnthProjects #PrzemekBranas @przemekbranas

Part of “Hungry Trees” series by #PrzemekBranas, this mask is made from eucalyptus leaves sewn into a fragile, shifting surface—an organic fabric carrying both material and historical weight. Widely used in the 19th century as a tool of colonial expansion, eucalyptus was introduced to reshape landscapes—draining land and purifying air—often resulting in monocultures that depleted soil and displaced local ecologies. Branas reworks this charged material through labor. Treating discarded leaves as textile, he assembles them into tapestries and prosthetic skins. The work remains processual: it dries, changes color, releases scent. Time becomes part of its form. The mask becomes a living archive— where body, material, and history converge. Images: Przemek Branas “You is The Forest” 2025 Eucalyptus mask 40 x 30 cm #EnthProjects @przemekbranas

Enth Projects presents works by #PrzemekBranas (b. 1987), an interdisciplinary artist working across performance, installation, photography, video, and sculpture. His practice unfolds as a constellation—fragmentary and layered—where bodies, materials, and images shift between presence and absence. At its core lies a sustained act of self-questioning. Through masks, prosthetic forms, and constructed figures, Branas displaces the “I” into something other—examining how identity is performed and shaped by desire, class, and cultural codes. Working as both artisan and assembler, he stitches together fragments into unstable narratives, where meaning emerges through seams, gaps, and tensions. In recent years, organic materials—particularly plants—have become central, introducing processes of growth, decay, and transformation. The body, here, is never fixed, but continually negotiated within ecological and social systems. Images: Collage from the series: “Gucci, Louis Vuitton, Prada, Nike, Adidas, Acne, Bottega Veneta, Balenciaga, Miu Miu, Dior, Hermès Paris” 2022 cardboard boxes, brown packing tape, paper 70x50cm “Ritual home masks 02” 2016 photography 145x110cm “House for the Rhino” installation 2022 - 2025 light, steel, roofing felt, paper mache, sand, bulbs, cabel covers, wires, sand, bamboo, glass dildos “The Sun, The flower” 2024 ink, acrylic paint, dried flower composition 40x30cm sketch for the installation “Our Homes Our Heads” 2025 40x30cm “Miners’ Kiss” 2020 photograph, documentation of performance with two tapestries 80x60cm #EnthProjects @przemekbranas

Kazuko Miyamoto Untitled 1977 String construction, installation view, Circuit Lausanne, 2015 #KazukoMiyamoto #EnthProjects

Kazuko Miyamoto Untitled, 1975 Ink and pencil on vellum 24.25 x 18 inches framed [Sold] #KazukoMiyamoto #EnthProjects

We are delighted to feature the work of #KazukoMiyamoto, whose practice unfolds at the intersection of minimalism, performance, and lived experience. Emerging in 1970s New York, Miyamoto developed a distinct visual language—most notably through her string constructions, where line becomes both structure and gesture. Suspended in space, these works trace systems of tension, gravity, and time, while quietly resisting the rigidity often associated with minimalist form. Her practice extends fluidly across installation, performance, and works on paper, shaped by a deeply personal and political sensibility. Movement, labor, and identity remain central—expanding her work beyond object-making into a continuous act of presence and relation. Spanning decades, Miyamoto’s work redefines space not as something fixed, but as something activated—by the body, by line, and by encounter. Images: 1. Kazuko Miyamoto, String around a cylinder of my height, 1977, Installation view at A.I.R. Gallery, New York 2. Kazuko Miyamoto, Egypt, 1978, Installation view at PS.1, New York 3. Kazuko Miyamoto, Untitled, 1975 4. Kazuko Miyamoto, Kazuko Dances!, 2006, Front of the invitation of Kazuko Dances! performance at Nancy Spero’s Studio, New York, May 19th, 2006 5. Kazuko Miyamoto, Untitled, 1978 6. Kazuko Miyamoto and Rolando E.Vega, 6 o’clock Kimono, 1987 7. Kazuko Miyamoto, Archway to Cellar, PS1 installation, 1978. 8.Kazuko Miyamoto, Untitled, 1972, Installation view, 117 Hester Street, New York 9. Kazuko Miyamoto, Untitled, undated, ca 1971. 10. Kazuko Miyamoto, Rotating Squares, 1985 #EnthProjects

At the heart of the series, the sunflower emerges as both a biological agent and a powerful cultural symbol. A natural hyperaccumulator, Helianthus annuus has the capacity to cleanse contaminated soil. Yet its meaning extends far beyond ecology. In Ukraine, the sunflower is a national emblem—long associated with land, vitality, and peace. Since 2022, it has also become a global symbol of resistance, unity, and hope. In Biala’s work, these meanings converge. The sunflower becomes both a tool for environmental healing and a marker of human dignity in the face of violence—turning toward the light while remaining rooted in adversity. Image: Alicja Biala Hyperaccumulator VII 2025 Bronze sculpture 203 x 72 x 50 cm #EnthProjects #AlicjaBiala @alicjabiala

In her ‘Hyperaccumulator’ series, #AlicjaBiala turns her attention to overlooked agents of ecological recovery: plants capable of absorbing toxic metals from polluted soil. Cast in bronze, these botanical forms are transformed into enduring monuments—elevating what is typically unseen into something weighty, permanent, and visible. Known as hyperaccumulators, these plants offer a sustainable and non-invasive method of healing damaged landscapes across Europe. Through this body of work, Biala gives presence to their silent labour—bridging science, ecology, and sculpture to reflect on resilience, restoration, and the possibility of repair. Image: Alicja Biala Hyperaccumulator I 2024 Bronze sculpture H: 170 cm #EnthProjects @alicjabiala

We are delighted to work with #AlicjaBiala (b. 1993), a multidisciplinary artist based between the Netherlands, the UK, and Poland. Working across sculpture, installation, drawing, and architecture, her practice moves fluidly between scales and materials—from large public murals to intricate etchings—while engaging with urgent questions around cultural identity, migration, and environmental degradation. Both speculative and interrogative, Biala’s work draws from Slavic histories and folklore, weaving them into contemporary political and ecological discourse. A graduate of the Royal Drawing School and the Royal College of Art in London, she represents a generation of artists rethinking how art can respond to the complexities of our time. Image: Alicja Biala Hyperaccumulator VII 2025 Bronze sculpture 203 x 72 x 50 cm #EnthProjects @alicjabiala

#PaulHutchinson “London fragmentation” 2023 Inkjet print 40 x 30 cm 40,9 x 30,9 cm (framed) Edition of 8 + 2 AP Courtesy of the artist; Sies + Höke, Düsseldorf

Paul Hutchinson “Selected Citizens” at Sies + Höke March 6 – April 17, 2026 In this exhibition, #PaulHutchinson expands his practice beyond photography and text to include a new body of sculptural works. These objects emerge from the same urban observations that underpin his images—drawing attention to the overlooked details, materials, and surfaces that shape everyday encounters in the city. The sculptures extend Hutchinson’s interest in how metropolitan life is perceived in fragments. Forms appear familiar yet slightly estranged, echoing the fleeting impressions and partial views that accumulate as we move through dense urban environments. Installed throughout the gallery and integrated into a central wooden architectural structure, the works unfold spatially rather than sequentially. Photography, sculpture, and text intersect to create a rhythm of pauses and passages—inviting viewers to navigate the exhibition much like one navigates the city itself. On view through April 17. Courtesy of the artist; Sies + Höke, Düsseldorf @sieshoeke Photography @studiokukulies

Paul Hutchinson “Selected Citizens” at Sies + Höke March 6 – April 17, 2026 #PaulHutchinson reflects on the psychological intensity of contemporary city life through photography, sculptural elements, and text. The works bring together images and fragments that mirror how urban environments are often experienced in passing—through surfaces, partial views, and fleeting moments that register before they can fully be processed. Rather than presenting the city as a stable landscape, the exhibition suggests a shifting field of impressions shaped by speed, memory, and constant visual stimulation. Familiar forms appear slightly displaced or only partly legible, echoing the fragmented way we often perceive the urban environment. A large wooden structure occupies the center of the gallery, functioning as both architecture and display. Visitors move through it, encountering different clusters of works that gradually unfold in space—forming a layered sequence of encounters that mirrors the rhythm and sensory density of the metropolis. On view through April 17. Courtesy of the artist; Sies + Höke, Düsseldorf @sieshoeke Photography @studiokukulies