Cudelice Brazelton IV, Tobias Hohn & Stanton Taylor, and Nicolás Guagnini

Broadly encompassing painting, sculpture, assemblage and collage, Cudelice Brazelton IV ( (b. 1991, Dallas, Texas) explores identity, abstraction and the physicality of place in his work, challenging traditional boundaries between materials, space, and viewer interaction. The artist’s practice largely centers on his experiences as a former steelworker in the American Midwest, a profession he inherited from his late father, and fascination with cosmetic imagery, as it holds personal resonance since he spent much of his time in his mother’s salon in their basement. Brazelton often integrates fragments of the industrial and domestic past of places he visits, cities he resides in, spaces he is producing exhibitions at. His practice, that combines materials such as cosmetic products, fabric, leather, acrylic or craft elements found in public spaces, metal or cardboard, has evolved through diverse cultural and geographical influences, exploring both his personal history and broader artistic dialogues. 

Over more than a decade of collaboration, Tobias Hohn (b. 1991, Prüm, Germany) and Stanton Taylor (b. 1990, Port of Spain, Trinidad and Tobago) have developed a distinctly site-specific method for analyzing the social and commercial pressures that shape public space. Through paintings, installations, and objects, their reproductive practice focuses on the seemingly familiar to reveal the strangeness embedded within it. 

The body of work presented at Galeria Wschód centers on the language of commercial display, materials such as glass, steel, and plastic, and the promise of a world that remains just out of reach. These images are reconfigured and stripped of their original context, then arranged into new visual structures. The result is a dense field of references where art history, popular culture, and everyday imagery operate together as elements of a single system. 

The artists use the city, particularly Berlin, as a stage for analyzing visual culture. Fragments of architecture, shop displays, advertisements, and other elements of public space become a material for exploring how images organize social experience. Their work also examines the effects of gentrification and the economy of images, showing how urban space, visual culture, and social relations are reshaped by market mechanisms. The artists invite reflection on one’s own trajectory within systems of expectation and control. By repeating the mechanisms of the gallery, they make them open to renegotiation, transforming the exhibition into a social and cognitive experiment.