For Frieze London 2026, OMR brings together artists working across painting and sculpture, focusing on how images are constructed and understood. Moving between abstraction and representation, the presentation considers painting through gesture, repetition, landscape, technology, and material, while sculpture carries these questions into three dimensions.

New paintings by Troika consider how technology has changed the way we see. Drawing from wavelet analysis, a tool fundamental to computer vision, the works move between landscape and abstraction, holding an image at the point where it might come into focus or dissolve into information.

Claudia Comte’s Turn and Slip paintings begin with simple parameters: a circular canvas, a brush corresponding to its radius, and a single movement of the hand. As the paint runs out, the gesture gradually fades. The resulting compositions are controlled but never entirely predictable, recalling the growth rings of trees found elsewhere in her practice. Recent works made with soil bring the natural world directly into the material of the painting.

In Pia Camil’s Into the Wild series, landscape becomes more intimate. The paintings center on the Guembas, or plantain trees, outside her home, connecting wildness and desire with her interest in regenerative agriculture. Sebastian Silva’s large canvases take a different approach, building compositions through repeated color, handwritten marks, and irregular forms.

Works by Dalton Gata, Ad Minoliti, and Leonel Salguero broaden the presentation through distinct approaches to figuration, abstraction, color, and form, moving between the body and its surroundings, geometric structure and imagined space, and personal experience and collective visual languages.

Jose Dávila’s cut-out series looks directly to the history of painting. Reworking well-known artworks, he removes and reconstructs elements of the original image, shifting attention toward composition, memory, and absence. His sculptures take composition into physical space, arranging concrete and stone so that weight, gravity, and balance become as important as form. Two new works from his Fundamental Concern series are included.

The sculptural works introduce another set of material relationships. Alicja Kwade’s Mono Monde pairs a stackable chair recast in bronze with a stone globe. Artur Lescher’s Lúmen #02 offers a quieter study of geometry, material, and space, while Comte’s marble Fire Coral translates an organic form into stone.

Painting remains the central thread, but its boundaries are deliberately loose. Images move between recognition and abstraction, system and chance, while sculpture brings questions of composition, material, and perception into the space of the booth.