NIKITIN GALLERY

We are all over NYC. Go see for yourself. Tag @lilkool & @nikitingallery NYC PRINT DROP MAY 2026 NIKITINGALLERY.COM #friezeartfair #nyc #printrelease #nikitingallery #joshuamaupin

NYC PRINT DROP MAY 2026 with JOSHUA MAUPIN (@lilkool ) On View at: drop.nikitingallery.com @nikitingallery #friezeartfair #artdrop #prints

Light Other Room is not made for the comfortable. It is a quiet rebellion, a threshold only the self-aware and untamed will recognize, where those who dare to question step beyond the known and claim a freedom most will never even see. View at: DROP.NIKITINGALLERY.COM NYC CAMPAIGN • We have 50 posters up on streets across New York City. • If you spot one, stop and photograph it. Every location was chosen with intention. • Share your photo and tag @lilkool & @nikitingallery on Instagram. We repost everything we see. LET’S GO NYC!! 🚀🚀 Design by: @juliancduron #joshuamaupin #nikitingallery #nycdrop #friezeartfair @lilkool @nikitingallery

This week. Drop release. NYC. Stay tuned. @lilkool @nikitingallery

Mickey Gave You Flowers by Joshua Maupin (@lilkool ) reimagines cartoon innocence as something more ambiguous and psychologically charged. A stylized vessel with a familiar, smiling face presents an overflowing bouquet of hyper-saturated flowers - lush, excessive, and slightly artificial in their intensity. Cradled in soft, heavy blue folds, the composition feels both tender and suffocating. The work balances charm with unease: the smile is fixed, the gesture exaggerated, and the colors almost too bright to trust. Maupin transforms a simple act of giving into a subtle critique of performance, nostalgia, and sincerity. This work is currently held in a private collection. @nikitingallery

URBEX In URBEX, James Livingstone (@links.46 ) captures a moment that feels unearthed rather than constructed - a fragment of the built world held in suspension, as if time itself has been cut open and examined. The work centers on a strip of weathered steel, its surface bearing the quiet violence of exposure: corrosion blooms across it, pigment clings in remnants, and partial lettering lingers like a voice interrupted. This is not decay as absence, but decay as evidence. Every mark insists on a prior life - industrial, functional, anonymous - now stripped of purpose and reintroduced as something to be confronted rather than overlooked. The steel does not hide its deterioration; it presents it with clarity. Surrounding this core, the wooden form curves with a deliberate softness. Its pale grain feels almost anatomical, like a protective shell or a frame grown around the metal rather than imposed upon it. The contrast is immediate but not oppositional. Instead, it creates a quiet tension: the warmth and continuity of the organic pressing against the brittle, arrested state of the industrial. There is a sense of incision in the composition, as though the object has been opened to reveal what usually remains hidden beneath surfaces - time, labor, erosion. The viewer is placed in a position of witness, encountering something that feels both intimate and impersonal, familiar yet displaced. While the work subtly echoes principles associated with Frank Lloyd Wright - particularly the relationship between structure and its environment - it resists harmony in favor of friction. URBEX does not resolve into balance; it holds its contradictions in place. What emerges is an object that feels suspended between states: past and present, use and obsolescence, erosion and preservation. Livingstone does not attempt to restore or beautify the material. Instead, he allows it to exist fully in its altered condition, asking the viewer to consider not just what has been lost, but what remains - and why that matters. @nikitingallery

James Livingstone (@links.46 ) is a contemporary sculptor whose practice is rooted in the language of industrial remnants and material memory. Working across mixed media - primarily salvaged steel, copper, wood, and concrete - he employs processes of rusting and patination to actively shape surface, controlling coloration while accelerating the natural aging of his materials. His work draws from themes of urban decline and regeneration, as well as the formal clarity of modern architecture. Influenced in part by the architectural philosophy of Frank Lloyd Wright - particularly the integration of structure and environment seen in Falling water - Livingstone recontextualizes fragments of the built world into contemplative sculptural forms. In the present piece, weathered metal - marked by corrosion, faded lettering, and industrial residue - is embedded within a carefully shaped wooden structure. This interplay creates a tension between organic form and industrial history, where deterioration becomes an intentional aesthetic language rather than a byproduct of time. The result is a body of work that feels both archaeological and immediate: artifacts of a recent past, reimagined with precision and sensitivity. Livingstone’s current explorations continue to examine the intersection of human presence, urban decay, and renewal - transforming discarded materials into objects that hold both weight and quiet resonance. @nikitingallery

Joshua Maupin (@lilkool ) Archive Series Drawings are now available on NikitinGallery.com @nikitingallery

From The Archives of Joshua Maupin (@lilkool ) Releasing tomorrow on NIKITINGALLERY.com @nikitingallery

Process. With Jeremy (@jeremy_mcbrian ) @nikitingallery

Yesterday, I visited Jeremy (@jeremy_mcbrian ) in his Brooklyn studio to gain a deeper understanding of his process and the way he approaches his work. Experiencing the pieces in person offered a level of clarity that’s impossible to replicate otherwise - revealing the depth, layering, and intentionality behind each composition. What stood out most is how his work invites interpretation. Each piece establishes a foundation, but it’s ultimately the viewer who completes the narrative - bringing their own perspective, emotion, and meaning into the experience. That balance between structure and openness is where the work becomes truly compelling. What defines Jeremy is his exceptional creativity and an unmistakable obsession with his craft. That level of focus and commitment is rare - and it shows in every detail of his work. Thank you again for the time and insight - I’m glad to witness and be part of your continued growth and success as an artist. @jeremy_mcbrian @nikitingallery

Dreaming Of The Fifth Season, 2023 Jim Mooijekind (@jimmooijekind ) Acrylics and Oil on Canvas 27.6 x 20 in, 70 x 50 cm For Inquiries Please Email: [email protected] @nikitingallery ABOUT THE WORK DREAMING OF THE FIFTH SEASON shows a solitary, hybrid figure standing frontally against a soft, cloudy blue background-like a character posed for an icon or a fable. At the center is a smooth, orange-red head with closed eyes and long lashes, the expression hovering between sleep and trance. The mouth is slightly open, rendered as a dark oval, giving the face a quiet, suspended feeling-more “dreaming” than speaking. The head emerges from a thick collar that reads like a restraint: a dark red band studded with round metal rivets, with two conical spikes jutting outward at the sides. The body is wrapped in a heavy, draping cloak or poncho in deep maroon and purple tones, shaded to feel plush and weighty. Below, the figure’s legs end in oversized, dark boots, each decorated with a neat orange bow-an oddly cute, almost gift-like detail that clashes with the severity of the spiked collar. Two thick green stems cross over the chest like an X-part plant, part harness-each stem sprouting glossy leaves and culminating in flowers that flank the head like heraldic emblems. On the left: a pale, cloud-shaped bloom veined with branching red lines, resembling a leaf, a lung, or a vascular diagram. On the right: a bright red, clustered flower topped with three curling yellow question-mark shapes, as if the blossom itself is thinking, doubting, or asking. The whole painting balances tenderness and threat: sleep-soft features and bows versus spikes and restraint; botanical growth versus containment. “The fifth season” (beyond the usual cycle) feels visualized as an impossible bloom-state-part evolution, part hallucination-where the figure’s inner life sprouts outward into strange, symbolic flora while the body remains bound and weighted.