The dot is both the mark and the meaning.
A practice built on deliberate placement — where color relationships emerge dot by dot and no decision can be undone.
Discipline as conceptual position
Mimi works exclusively in hand-applied pointillism — not as a nod to Seurat but as a self-imposed constraint that makes every dot a visible record of attention.
The practice resists acceleration. Each composition is built through color relationships that only become legible at a certain density — a density that cannot be rushed.
Her position in contemporary art is grounded in originality of method: pointillism as live conceptual content, not historical citation or decorative register.
Patience is not a virtue here — it is the material.
Rhythm accumulates through placement, not speed. The surface does not announce itself finished — the work does.
Slow Marks — Group Show
A curated exhibition of process-led contemporary practices. Venue and dates to be announced.
Institutional engagements
Selected group exhibitions, curatorial invitations, and studio open calls — an ongoing record of the practice entering public discourse.
Dot Frequency — Solo Presentation
First solo presentation of six works from the inaugural collection. Studio gallery, New York.