Timothy Taylor is pleased to announce the representation of American artist Aaron Garber-Maikovska (b. 1978) in New York in collaboration with MASSIMODECARLO in Milan. A new painting by Garber-Maikovska will be included in the forthcoming Art Basel Miami Beach 2025, and a solo exhibition of the artist’s work is planned in the gallery’s New York space in fall 2026. 

Garber-Maikovska has, for more than two decades, explored the relationship between embodied experience and mark-making. Spanning painting, performance, and video, his practise is grounded in a distinctive vocabulary of movements developed over many years. These gestural rituals, which he describes as a “somatic practise,” are translated into vibrant paintings defined by animated fields of explosive colour and idiosyncratic line. Working on both fluted polypropylene and canvas, he often uses the polypropylene either as a primary surface or placed behind the canvas to bring its rhythmic texture forward. He paints with oil sticks he formulates from raw pigments, wax, and oil, together with oil paint—a custom medium that allows precise control over hue, opacity, and density, fostering an intuitive and immediate relationship with colour. He favours the material for its ties to commercial signage—its use in advertisements, yard signs, and other everyday contexts—while also noting “an agility to the material, a lightness.” Working with the board laid flat on the ground or on unstretched canvas pinned to the wall, Garber-Maikovska moves through his lexicon of gestures—at once expansive and exacting—to arrive at his energetic compositions. 

In his performances, Garber-Maikovska investigates shifting modalities of gesture and touch, exploring repetition, variation, and the generative space between them. He conceives these movements as choreographed compositions that extend the language of painting into the body itself. Often accompanied by pre-linguistic sounds or fragmentary ideas, these performances cultivate an environment of suspended meaning, while conveying an intimate sense of the artist’s experiences of physical, emotional, and psychological engagement with urban and commercial landscapes. His video works, which document these actions, frequently incorporate everyday objects within public or commercial contexts, introducing a sense of interaction and unbounded play into the mundane. Across media, his practise foregrounds immediacy, intuition, and improvisation in its exploration of the relationship between physical gesture and form.