Watching our collection grow and welcoming new voices is always a source of enchantment. If your curiosity is picqued, we invite you to explore further into the world of these artists :

Deborah Bowmann (2014, France)

Deborah Bowmann is an artist duo formed by Amaury Daurel (b. 1990, Bordeaux) and Victor Delestre (b. 1989, Bordeaux). Founded in Amsterdam in 2014, the duo has been based in Brussels since 2015. Their work sits at the junction of sculpture and large-scale retail, treating both aesthetic vocabularies and economic systems as raw material – standards to reshape, surfaces to sculpt. Drawing on the lexicon of branding and promotion, they produce sculptures that double as displays, able to support their own work, another artist's piece, or an actual product, while still holding together as a single piece. The result questions where an artwork's autonomy actually begins and ends. Deborah Bowmann’s practice is a broader inquiry into how contemporary society produces and exhibits things, carried out with a tone that's at once critical and humourous. (+info)

New in our collection: Orange suitcase M, 2026

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Michael Johansson (1975, Sweden)

Far from a newcomer to our collection – Galila has been collecting this artist for years and already holds more than 20 of his works – we're just as excited to welcome a new piece that completes the set.

Michael Johansson transforms everyday, often second-hand objects into sculptures and installations. He gathers familiar items like old televisions and radios from flea markets and thrift stores, sorts them by color, and locks them into tight, structured compositions. His work has been described as "real-life Tetris.”

Johansson's practice is driven by a fascination with pattern and repetition. The artist reorders the ordinary until it stops looking ordinary, and the line between functional object and art gets harder to find. (+info)

New in our collection: Crossfade - Black Brown, 2023

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Marco Emmanuele (1986, Italy)

Marco Emmanuele works with natural materials, sand and glass especially, treating them as meditations on time, decay, and renewal. His process starts on the beach, where he collects glass remnants and grinds them into pigment, recovering a discarded material as a working medium that carries both light and history in its grain.

The materials carry a tension he doesn't resolve, between nature and human intervention, between erosion and creation. His method recalls fresco painting in its immediacy, each gesture left as a permanent mark on a surface that's otherwise still changing. (+info)

New in our collection: Nudo a tavola, 2026