The twelfth artist residency cycle at bEam arts resulted in the creation of works employing diverse media and aesthetic approaches, yet converging on a shared theme: the interconnection of space and time. These concepts, fundamental to human perception and existence, evolve in tandem. Time unfolds within space, while space transforms as time passes; neither can exist without the other. Whether considering planetary motion, the way we perceive the qualities of an artwork depending on the time and our viewing position, or the evolution of an artistic idea, everything is subject to this inseparable pairing of space and time.

Konstantina Mavridou, hails from Thessaloniki. Having initially studied at the Department of Mathematics at the University of Ioannina and subsequently at the Gerrit Rietveld Academie in Amsterdam, her work embodies an organic connection between mathematical logic and artistic inquiry. The works presented in this exhibition form part of a series referencing the planetary anomaly tables of Claudius of Ptolemy (2nd century AD). These tables recorded the discrepancy between a planet's predicted position, based on the motion model, and its actual observed position; they served as a corrective adjustment, bridging the model and the physical reality. In “Normality Engine”, she sonically records the anomaly period of five planets (Mercury, Venus, Mars, Jupiter, Saturn) and maps it to a low-frequency range between 34 and 40 Hertz. The movement of the five planets occurs simultaneously, the sound becomes denser at points where their orbits coincide. In the work “Marble Pixel”, she distributes the frequencies of the five planets across numbered white marble tiles. Access to the various frequency levels is provided via QR codes engraved on the tiles. Each tile is numbered and serves as a collector's item.

Nunzio Miano, is of Italian-Sicilian descent and based in Australia. He is an artist whose practice is rooted purely in painting. His work focuses on abstract portraiture, exploring facets of the human psyche and its emotional states through an intense use of color and gesture, creating multi-layered forms within the space of a canvas. Simultaneously exploring questions of history and culture, he draws upon the painting tradition of the Italian Renaissance, processing it through a lens of emotional vulnerability and introspection. The paintings created during his residency at bEam arts bear strong Renaissance references, both in terms of composition and color. At first glance, from a distance, they evoke classical portraits. A second look reveals something else entirely. Facial features swirling and distorting, almost disintegrating, to reveal what lies "beneath the surface." It is a meditation on history, displacement, family trauma, and, ultimately, on how these elements combine to create paradoxical yet compelling amalgams in culture and within the human psyche.

Phillip Reeves lives and works in London. This is the second time he is presenting his work at bEam arts. These pieces represent an experimental continuation on the series of paper traditional Greek costumes that he exhibited at the venue during spring of 2025. At this stage, he is moving away from traditional colors and forms. He incorporates textual elements onto the paper garments, as well as material scraps from a body of work called  "Flounce", which is set to be exhibited at Apodec in October. His artistic exploration of the garment aligns with an artistic lineage that includes the taut, minimalist canvases of Giorgio Griffa and the cutouts of Henri Matisse, as well as Matisse’s designs for the vestments at the Chapelle du Rosaire de Vence. An additional influence stems from the tradition of "Joss Clothing", the burning of paper garments during East Asian rituals of remembrance, which introduces concepts such as transience, offering, and symbolic exchange. These references coexist with more familiar, nostalgic imagery, such as 20th-century paper dolls, where the garment transforms into a realm of play, imagination, and control.