Æmen Ededéen / Dean Fox / Daniel Pitín brings together three artists whose distinct visual languages challenge viewers to look beyond what is familiar by deconstructing what we see every day. The exhibition is steadily attentive to what remains concealed. The artists unsettle familiar forms, opening up a space where tensions unfold, environments become charged with unfamiliarity, and meaning is found in the mundane. What initially appears recognizable gradually gives way to obscurity, resisting what we believe to be true. 

Æmen Ededéen (b. 1979, Mountain Home AFB, Idaho) is a first-generation graduate with a graphic design degree from The University of Arizona. A 2018 grant recipient of the Roswell Artist in Residence Program, Hagler has since made New Mexico his permanent home. Currently, he lives with his wife and daughter in the high desert village of Placitas at the foot of the Sandia Mountains. Recently, his practice has been guided by a project titled The Glass Dream Game, which explores the intersections of knowledge, memory, and the unconscious. Drawing from his personal library then selected through chance-based methods inspired by the I Ching, his layered, dream-like compositions reference art history, philosophy, religion, science, and literature. Informed by Hermann Hesse’s The Glass Bead Game and Jungian thought, the project embraces synchronicity and radical interdisciplinarity.

Exhibitions include: Æmen Ededéen / Dean Fox / Daniel Pitín, Nicodim, Los Angeles (2026, forthcoming); The Glass Dream Game, Marauni Mercier, Brussels (2026, solo); The Noise of Fear is Drifting down the River, (You cannot Die), Cris Worley Fine Arts, Dallas (2026, solo); THE BODY DOES NOT EXPLAIN ITSELF, Nicodim, Los Angeles (2026); Ángeles Agrela / June Canedo de Souza / Æmen Ededéen / Samantha Joy Groff / Teresa Murta / Daniel Pitín, Nicodim, New York (2026); The Amber of this Moment, Galeria Nicodim, Bucharest (2025); Mystical Me, Corridor Foundation, Shenzhen (2025); Nihil III: Already Paradise, Nicodim, New York (2024, solo); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); Overserved, Miles McEnery Gallery, New York (2024); Focus: Joshua Hagler, Cris Worley Fine Arts, Dallas (2024, solo); Nihil II: Nor The Moon in its Water, Old Jail Art Center, Albany (2024, solo); Arcadia and Elsewhere, James Cohan, New York (2024); Nihil I: I Would Not Speak of the Mountain, Nicodim, Los Angeles (2023, solo); The Descendants, K11 Musea, Hong Kong (2023); MATERNITY LEAVE: NONE OF WOMEN BORN, Nicodim in collaboration with the Green Family Foundation, Dallas (2023);  Joshua Hagler, Devin B. Johnson, Nicola Samorì, Hugo Wilson, Nicodim, Los Angeles (2023); DISEMBODIED, Nicodim, New York (2023); Unmatter, Secci, Milan (2022); The Living Circle Us, Unit, London (2021, solo); Witness or Pretend, Bode Projects, Berlin (2021); Drawing in the Dark, Cris Worley Fine Arts, Dallas (2021, solo); Figure as Form, Hollis Taggart Gallery, New York (2020); Love Letters to the Poorly Regarded, Roswell Museum and Art Center (2018, solo), and The River Lethe, Brand Library and Art Center, Los Angeles (2018, solo).

Dean Fox (b. 1979 in London, UK) studied Fine Art and Illustration at Central Saint Martins School of Art and Design, London. Fox’s paintings offer up a gloriously hallucinogenic exploration into not just the metric and matrix of Impressionism but, more importantly, the praxis and lexis of painting itself. Fox’s image first starts out as a digital collage, born from a tessellation of various works by artists such as Manet, Monet, Gauguin or Degas. Once he has digitally sewn together various vignettes from his chosen artist(s) source, he then transfers his montage onto his canvas in paint. This is when the chrysalis metamorphoses; the bug of historical reference – from Impressionism, Symbolism to Fauvism – now transformed into a butterfly of painterly possibility, boundary and contingency. His work has been exhibited across Europe, the UK and US. Exhibitions include Æmen Ededéen / Dean Fox / Daniel Pitín, Nicodim, Los Angeles (2026, forthcoming); Scene XVII: Dean Fox, Keeping the Books on the Shelf, Matt Carey-Williams, London (2026, solo); Scene VI: Dean Fox, Dreams of Pathways Home, Matt Carey-Williams, London (2024, solo); Scene XIII: Eden, Matt Carey-Williams, London (2024); Embodied Forms, Thaddaeus Ropac, London (2024); After Dark, Newchild, Antwerp (2024); Episode I: Bump, Matt Carey-Williams, London (2024); Arcadia and Elsewhere, James Cohan Gallery, New York (2024); Equilibrium, HOFA Gallery (House of Fine Art), London (2023); RE: WILD, Dellasposa Gallery, London (2022); All Art Great and Small, Dellasposa Gallery, London (2022); Dean Fox: Contemporary Classicism, Estella, New Orleans (2021, solo); Romance Rebirth, HOFA Gallery, London, UK (2021); The Arx, London (2020); Myth Making, HOFA Gallery, London (2020); among others. The artist lives and works in Epping, UK.

Daniel Pitín (b. 1977, Prague, Czech Republic) is a leading figure among the generation of artists to have emerged since the fall of communism in Central and Eastern Europe. He received his education from the Academy of Fine Arts, Prague, Czech Republic in 2001, and continues to live and work in Prague. Exhibitions include Æmen Ededéen / Dean Fox / Daniel Pitín, Nicodim, Los Angeles (2026, forthcoming); Concrete Flowers, Blain, London (2026, solo); Ángeles Agrela / June Canedo de Souza / Æmen Ededéen / Samantha Joy Groff / Teresa Murta / Daniel Pitín, Nicodim, New York (2026); THE BODY DOES NOT EXPLAIN ITSELF, Nicodim, Los Angeles (2026); Memories of a Deserted Island, Nicodim, Los Angeles (2025, solo); Liang Fu / Chantal Khoury / Daniel Pitín / Nadia Waheed, Nicodim, Los Angeles (2024); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); The Newcomers Association, hunt kastner, Prague (2024, solo); DISEMBODIED, Nicodim, Los Angeles (2024); Time Machine, Nicodim, New York (2023, solo); Galeria Nicodim, Bucharest: 10 Years, Galeria Nicodim, Bucharest (2023); Sommerkino, Czech Center, Berlin (2022, solo); A Race of Peeping Toms, Nicodim, Los Angeles (2020, solo); A Paper Tower, Galerie Rudolfinum, Prague (2019, solo); Formal Encounters, Galeria Nicodim, Bucharest (2018); Broken Windows, House of Art, České Budejovice (2018, solo); Grotto, Charim Gallery, Vienna (2018, solo); Crystal Gardens, GRIMM, Amsterdam (2017, solo); The Mechanical Flowers, Nicodim, Los Angeles (2017, solo). Pitín is collected by the the Los Angeles County Museum of Art and the Knoxville Museum of Art, and his solo institutional exhibitions include Cover Story, Boulder Museum of Contemporary Art (2012); and After the Fall, Hudson Valley Center for Contemporary Art, Peekskill and the Knoxville Museum of Art, Knoxville (2011).