Bode is pleased to announce the opening of the group show Hyperacuity with works by Alteronce Gumby, Henri Haake, Sol Kordich, Gabriel Mills, Teresa Murta, and Zafer Urun.
I spy with my little eye marks an early, playful exercise in locating the visible. Within artistic practice, it unfolds into a reflection on the conditions of visibility itself. Layer by layer, the artists in Hyperacuity lend form to the unseen. While some uncover what eludes perception, other layers hide what was once visible beneath a textured blanket of color and form. To grasp beyond these visible layers, it takes hyperacuity. A term borrowed from vision science describing the ability to perceive beyond the limits of the eye. An ability that becomes a means of communication between the artists and the spectators in the eponymous exhibition.
Extending from this premise, Hyperacuity situates itself within a broader trajectory in which vision is not a stable faculty, but a site of continuous negotiation. From the atmospheric dissolutions of Turner to the perceptual instabilities of Impressionism, and later the optical experiments of Op Art and the phenomenological concerns of postwar abstraction, artists have persistently tested the limits of what can be seen and how. In this lineage, seeing is never neutral. It is constructed, conditioned, and often deceived. The works assembled here continue this inquiry, yet shift its emphasis toward the layered, fragmented, and often contradictory nature of perception today.
Across the exhibition, painting and object become thresholds rather than images. The works turn into sites where visibility flickers between emergence and withdrawal. Alteronce Gumby’s practice foregrounds light as both material and illusion, using glass and pigment to create surfaces that resist fixed perception. His works demand movement, implicating the viewer in an active process of seeing that recalls both the chromatic investigations of modernism and the immersive environments of Light and Space practices.
Henri Haake’s paintings, by contrast, operate through accumulation and erosion. Built from dense strata of references, gestures, and digital remnants, his surfaces hover at the edge of legibility. Images appear only to dissolve again, evoking a condition in which perception is constantly deferred. In this oscillation between recognition and obscurity, Haake’s work resists unambiguity, rendering the process of disappearance as tangible as that of emergence.
Sol Kordich approaches painting as a spatial and temporal unfolding, where gesture and transparency construct layered environments. Her works invite a durational mode of looking, one attuned to subtle shifts and internal rhythms. Drawing from architecture, poetry, and symbolic systems, her paintings open onto spaces that feel both intimate and expansive.
Gabriel Mills expands the notion of hyperacuity into the realm of memory, ancestry, and the metaphysical. His figures, informed by African sculpture and personal narratives, inhabit a space where temporalities collapse and reconfigure. Here, perception becomes a means of accessing what exceeds the immediate. An attentiveness to the intangible forces that shape identity and experience weaves through his practice of both figurative and abstract expression.
In Teresa Murta’s work, hyperacuity manifests as an intuitive navigation through ambiguity. Her paintings, unfolding without predetermined structure, move fluidly between abstraction and figuration, natural and artificial forms. Through this process of continuous transformation, Murta constructs images that resist fixed interpretation, instead inviting a mode of seeing grounded in openness and speculation.
Zafer Urun’s multidisciplinary practice introduces another dimension to the exhibition’s exploration of perception. By combining references from fashion, street culture, and art history with both traditional and digital techniques, his works challenge categorical distinctions between object and image, design and art. His practice highlights the cultural frameworks that shape perception, suggesting that to see more acutely is also to become aware of these underlying structures.
Together, the artists in Hyperacuity propose a form of seeing that is neither immediate nor complete. Instead, it is contingent, layered, and in constant flux. It is an ongoing negotiation between what is revealed and what remains concealed. In this space, hyperacuity is not simply an enhancement of vision, but a reorientation of attention: a heightened sensitivity to the limits of perception, and to the complex realities that unfold just beyond its reach.
