Market Art Fair 2026

Since its inception in 2012, Cecilia Hillström Gallery’s program has been dynamic and cutting edge; it has successfully launched a number of emerging artist parallel to representing prominent painters, sculptors and video artists. For the 20th celebratory edition of MARKET, Cecilia Hillström Gallery presents new works by two emerging and one well-established artists; a concept which reflects the gallery’s vision as well as highlighting different approaches to photography.

Emerging artist Clara Ketter’s work examines the nature of storytelling, focusing on how narratives are constructed and altered by time, perspective, and circumstance. Often working with merging photography and sculpture, the reoccurring layers in her work are treated as chapters in a story. With a focus on the translation that happens when repeating and re-interpreting through different artistic techniques, she explores how we perceive and construct our individual and collective realities. By playing with the inevitable flatness of photography and the three-dimensional quality of sculpture, Clara Ketter’s new series of photographic objects shown at Market Art Fair further explores her interest in layering as a means of storytelling.

In Clay Ketter’s new body of works, photography merges with painting. The photographic motifs of architecture are occupied by painted forms which are superimposed on the surface – they are part of temporary situational landscape. There is an inherent beauty and excitement in the fact that these shapes are lingering, not quite making sense. As always, Clay Ketter’s firm grip on composition is manifest in this recent series in mixed media.

The wall objects are juxtaposed with paintings by emerging artist Aurea Tanttu. Tanttu approaches painting as a tool through which memories from the past—or even the future—can be unearthed. Observations triggered by homesickness transform everyday things into something sentimental and childlike, even ominous. Tanttu constructs images that hover between figuration and apparition, creating spaces in which bodies dissolve into surfaces and light becomes an active, almost sentient force. The paintings suggest moments of interiority, where the self is encountered obliquely at the threshold between waking and dreaming. Tanttu’s handling of paint reinforces this perceptual ambiguity. Thin veils of color create surfaces that feel both tactile and immaterial. Working across various supports, including coarsely textured jute, linen, and smooth panel, her choice of materials contributes to the emotional register of each work.