For its first participation in Material Art Fair in Mexico City, DS Galerie is pleased to present a new project by David Weishaar (b. 1987), a French painter based in Switzerland, specially conceived for this edition. On this occasion, the artist unveils a new series of paintings brought together under the title “For The Nameless Flowers That Bloom Amidst Concrete”, continuing his exploration of portraiture, intimacy, and forms of resistance within contemporary environments.

A queer artist, David Weishaar grounds his practice in a deeply relational and engaged approach. Portraiture occupies a central place in his work: he depicts individuals with whom he shares bonds of friendship, affinity, or activist commitment. Far from a distanced mode of representation, his paintings convey a sense of proximity, care, and attentiveness toward his subjects, affirming presences that are often marginalized or rendered invisible.
In this new series, figures emerge within ambiguous spaces where urban elements intertwine with vegetal fragments. The title itself evokes a form of fragile persistence—anonymous flowers managing to bloom through concrete—serving as a metaphor for lives and communities that unfold despite constraining conditions. Through these images, the artist questions the conditions of appearance, visibility, and survival of bodies and identities.
His painting is characterized by a particular attention to surface, color, and light, creating atmospheres that are both gentle and unsettling. The bodies, often depicted in moments of withdrawal, rest, or introspection, resist any form of spectacle, favoring instead a quiet, almost meditative presence. This economy of gesture and restraint intensifies the emotional charge of the works while allowing space for multiple interpretations.

This new project follows on from the work the gallery had the pleasure of presenting in his latest solo exhibition, “La griffe leur apporta une fleur”, held in Paris from March to May 2023. With this proposal conceived for Mexico City, David Weishaar extends and shifts his research, affirming a practice that is both intimate and political, where portraiture becomes a space for projection, solidarity, and the reinvention of narratives.