Cairo-born artist and decorated educator Ibrahim Khatab showcases a concise, material-focused retrospective charting seven years of artistic development through a carefully curated selection of seven to ten works. Calligraphy, textures, sculpture and urban residues embed memory and resistance across multimodal works. Here, transformation becomes integral to his practice and is reinforced through points of beautifully crafted refinement or intuitive, yet concise, bursts of disruption.

This spectacular display of energy and portals into unseen territory by Younes Khourassani, invites viewers into a solo show that offers us the opportunity to see light as a form of power, that invigorates the cosmos influences how we understand our humanity. In pieces designed as chromatic shifts, colour becomes a core element where Khourassani explores not only a relation to abstraction, but as a profound celebration into the wonders of existence and transformative practice.

Eclectica Contemporary is pleased to present The Valley of the Red Gods, a solo exhibition by renowned colourist painter Cathy Layzell. This exhibition positions abstraction as a form of reverence. Situated through the conceptual and chromatic hue of Red Disa, the reflective nature of colour and light becomes a way for us to see nature as fractal, invoked. Nature is not romanticised , it is entered through a manifestation of Red Disa. Layzell’s paintings ask the viewer to slow down, to look as one looks into water , aware that what is seen is inseparable from what is felt.

Muofhe Manavhela's personal, intimate works depict the shared, experiences livelihoods of Black women in the greater community of South Africa, spanning across time, and transcending it - Manavhela's art delves into portraiture as a form of showing love, pleasure, youth, sexuality, regality and the domesticity of Black womanhood. Through tracing a matriarchal history, fragmented history is brought back into the canon and depicted as thoughtful, honouring pieces centering the people Manavhela admires and chooses to depict with honesty, and lightness.

Richard Nattoo's solo exhibition, The Passage Between Worlds, sees Jamaican folklore and cosmology transmute into a reclamation of broader cultural and spiritual practices that have been misrepresented by a Western lens. Here, Nattoo's construction of mythologies oscillates between the seen and unseen, where liminal states infuse each work with otherworldly charge, suspended between revelation and ritual. Initially an exploration of Jamaica's masquerade tradition known as Jonkonnu, a vibrant, hybrid festival that emerged during slavery, this construction of Jamaican mythos becomes a way to reclaim and rewrite spiritual authorship, and shift the gaze of 19th-century colonial observation to one that champions agency over spiritual figures and icons within the culture. Ultimately, this exhibition sees Nattoo transforming folklore into philosophy, and depicting cultural symbiosis in real time.