Grace Weaver

Grace Weaver’s solo exhibition, ‘Plaids’, is currently on view in our London gallery until 28 May.     Approaching painting as a form of drawing, with line laid down in fluid, sweeping brushstrokes, the ‘Plaids’ continue Weaver’s ongoing concern with colour, gesture, geometry and line. The artist explains: ‘if line has to do with mapping thought, then these are small bundles of thoughts, moments in time transcribed or translated into linear form’. Weaver likens the painting of these works to the process of weaving itself, with accumulating bands of paint mirroring the methodical warp and weft of woven thread. 
  Installation view: Grace Weaver, ‘Plaids’, Galerie Max Hetzler, London, 2026, photo: Lucy Dawkins     #MaxHetzler #GalerieMaxHetzler #GraceWeaver @weaver_grace #Plaids

OPENING TODAY: Grace Weaver’s solo exhibition, ‘Plaids’, opens today, Tuesday 21 April, in our London gallery. Please join us for the opening, from 6 – 8pm.     In her figurative ‘Plaids’, Weaver references ancient and iconographic forms of portraiture, including Celtic carved stone heads, Minoan and Mesopotamian art, and decorative figuration from the Akkadian period (2350–2150 BCE). The formal strictness of the plaid motif is mirrored by the postures of the figures who, shown frontally or in near profile, are inspired by these iconic and emblematic depictions of the human form.     Installation view: Grace Weaver, ‘Plaids’, Galerie Max Hetzler, London, 2026, photo: Lucy Dawkins     #MaxHetzler #GalerieMaxHetzler #GraceWeaver @weaver_grace #Plaids

OPENING TUESDAY: Grace Weaver’s solo exhibition, ‘Plaids’, opens in our London gallery on Tuesday, 21 April. Please join us for the opening, from 6 – 8pm.     Painting wet-into-wet onto large, soaked sheets placed directly on the floor, Weaver describes how ‘each mark becomes an index of the body’. Bold lines of colour overlay and interact as rivulets of paint pool, bleed and bloom across the surface of the paper, seeping into its fibres.    Images: Grace Weaver, ‘Untitled (Plaid)’, 2026, watercolour on heavy watercolour paper, 76 x 56 cm.; 30 x 22 in., 80.5 x 60.5 x 4 cm.; 31 3/4 x 23 7/8 x 1 5/8 in. (framed), photo 1: Eric P.S. Degenhardt; photo 2 & 3: def image     #MaxHetzler #GalerieMaxHetzler #GraceWeaver @weaver_grace #Plaids

Grace Weaver • Prélude • Kunstmuseum Magdeburg Solo exhibition, on view through August 16, 2026 Photos: Hans-Wulf Kunze @kunstmuseum_magdeburg @weaver_grace

OPENING SOON: Grace Weaver’s solo exhibition, ‘Plaids’, opens in our London gallery on Tuesday, 21 April. Please join us for the opening, from 6 – 8pm.     Painted in 2026 during an extended stay in Los Angeles, Weaver’s new body of abstract and figurative works draws on the rhythmic, patterned textiles of checks, tartans and plaids. Approaching painting as a form of drawing, with line laid down in fluid, sweeping brushstrokes, the ‘Plaids’ continue Weaver’s ongoing concern with colour, gesture, geometry and line.    Image 1: Photograph by Eric P. S. Degenhardt, 2026     Image 2: Grace Weaver, ‘Untitled (Plaid with Head)’, 2026, watercolour on heavy watercolour paper, 152 x 104 cm.; 60 x 40 in., 156.4 x 109 x 4 cm.; 61 5/8 x 42 7/8 x 1 5/8 in. (framed)    #MaxHetzler #GalerieMaxHetzler #GraceWeaver @weaver_grace #Plaids

UPCOMING: Galerie Max Hetzler, London, is pleased to announce Grace Weaver’s solo exhibition, ‘Plaids’, opening on 21 April 2026.     Painted in 2026 during an extended stay in Los Angeles, Weaver’s new body of abstract and figurative works draws on the rhythmic, patterned textiles of checks, tartans and plaids. Exploring bold, bright colours, the ‘Plaids’ mirror the methodical warp and weft of woven thread, continuing Weaver’s ongoing concern with gesture, geometry and line.    Photograph by Eric. P. S. Degenhardt, 2026     #MaxHetzler #GalerieMaxHetzler #GraceWeaver @weaver_grace #Plaids

We are thrilled to welcome American artist @weaver_grace presented by Berlin-based @soycapitangallery , to the second edition of House of Galleries! With her vibrant color and narrative, Weaver’s paintings open up endless possibilities for interpretation, capturing the energy and complexity of modern life. Her work is also among the latest acquisitions for the Städel Museum’s Contemporary Art Collection. 🟥 January 22-25, 2026 📍 TRIANON Frankfurt | Floors 42–44 🎟️ Buy tickets: houseofgalleries.de Powered by: @wirtschafthessen TRIANON, @usmmodularfurniture Skadden @frankfurt.de @monopolmagazin @vogeleventpartner @hiscox_de @wifoeffm Photo Slide 1: Eric Degenhardt #HouseOfGalleries #thefrankfurtartexperience #graceweaver #soycapitan

Grace Weaver explores the human figure as a shared visual language. Her paintings and paper works examine gesture, movement, and emotion as enduring forms across art history, connecting the everyday with the archetypal. Questions of composition and surface also shape her collage practice, where painterly thought translates into material arrangement. Grace Weaver was born in 1989 in Vermont, USA. She studied at Virginia Commonwealth University and lives and works in New York and Berlin. Milad Nemati's work revolves around themes of identity, memory, and the structures of everyday life. Working with painting, drawing and watercolor, he follows an intuitive, moment-based process inspired by Omar Khayyām's philosophy of presence. Starting from accidental backgrounds, figurative scenes emerge through a dialogue between control and chance, resulting in playful, at times absurd images that reflect lightness and unpredictability. Born in 1991 in Tehran, Iran, Nemati lives and works in Berlin. He graduated from the Berlin University of the Arts. The Power of Small Things is on view until January 24, 2026. More information via the link in our bio. 1.-4. Grace Weaver Untitled (Souvenir Collage), 2025 Mixed media on paper 17.8 x 12.7 cm 5. Milad Nemati Judith, 2025 Water color on paper, framed 32 x 26 cm 6. Milad Nemati Josephine, 2025 Water color on paper, framed 32 x 26 cm @weaver_grace @milaadn #contemporaryart #figurativeart #berlingallery

“Mothers,” my show at Galerie Max Hetzler in Berlin closes tomorrow. This painting is 3 meters high and is called “Untitled (Madonna Lactans).” Thank you to everyone who has visited! 💙💙 “A scholar says that ‘The oceanic feeling,’ The sense of infinitude Experienced in moments of Spiritual transcendence Closely resembles Our sensations in infancy. I think of Buck Mulligan describing the sea as ‘our great sweet mother.’ He cries out ‘Thalatta! Thalatta!’ Summoning the joy of the Myriads Finally coming upon the sea. I think of Dedalus’ ‘oomb, allwombing tomb.’ I think of Dreyfus and his ‘all things shining,’ Paglia and her ‘glittering images’ Hephaestus’ shield, And the Golden Madonna of Good Counsel of Essen. I read Gimbutas and Campbell But with a considerable Grain of salt.” excerpt from “A Scholar Says (Note-Poem on Mothers),” 2025 Untitled (Madonna Lactans) 2025 Acrylic on canvas 300 x 280 cm @galeriemaxhetzler

GROSSE KUNST tomorrow 🔜 @sz Mit @weaver_grace Liv Liberg @coelocanthe @petershire Thomas Demand @studioolafureliasson @williamkentridgestudio Alicja Kwade @carmen.winant

There are a few days left to see “Mothers” at Galerie Max Hetzler in Berlin. Two of these mother and child paintings are 3 x 5 meters, the largest I’ve ever made! I painted them while listening over and over (and over and over) to Das Rheingold. “A scholar says that Wagner Writing to Nietzsche Said he aimed to compose ‘the world’s lullaby.’ Apparently, he had in mind the phrase: ‘Eia popeia, sung for centuries by mothers to lull their babies.’ Since I first heard this read aloud I’ve been singing what I think of as ‘Aya Papaya’ to the tune of The Rhinemaidens’ ‘Heiajaheia’ And I still like the misreading, Thinking of Joyce’s mondegreens: ‘Allmen’” (excerpt from a shambly “note-poem” I wrote this summer called “A Scholar Says”) Untitled (Mother and Child) 2025 Acrylic on canvas 3 x 5 m @galeriemaxhetzler

LAST FEW DAYS: Grace Weaver’s exhibition, ‘Mothers’, is on view in our Berlin gallery at Goethestraße 2/3, until Saturday, 29 November.     In her latest series, Grace Weaver turns to archetypal motifs, including the mother and child, and the female nude. For Weaver, the body is not just a subject but a site – a stage on which line is choreographed in lyrical gestures, and through which emotion comes to the fore. Despite their monumental scale, Weaver’s new works disclose humble subjects and tender sentiments.    Video: 'Grace Weaver at Work', 2025, photography: Eric P.S. Degenhardt, video editing: Robin Brass, music: Tchaikovsky, Violin Concerto in D Major, Op. 35.     #MaxHetzler #GalerieMaxHetzler #GraceWeaver @weaver_grace #Mothers