104GALERIE (Nakameguro, Tokyo) will be holding the solo exhibition “Afterlight” by Johannes Bosisio from Saturday, December 13 2025 to Saturday, January 24 2026.

This will be Bosisio’s first solo exhibition at 104GALERIE, and it will feature a selection of paintings, including a new piece measuring over 4.5 meters, as well as approximately ten drawings. Works created by the artist during his stay in Tokyo to coincide with the exhibition will also be on display. Johannes Bosisio was born in Cavalese, Italy in 1994. After attending the Weißensee Academy of Art Berlin in 2020, he moved to London and graduated from the Royal College of Artin 2022. Like his father, Robert Bosisio, he is an active painter.

Bosisio’s work is shaped and developed by the repetition of urban life in Berlin and London, and by life surrounded by the mountains of Trodena, Italy.
Bosisio has always pursued the expression of two contrary ideas of inorganic and organic matter, and he focuses a tranquil macro-perspective towards the worlds of each. He sees destruction and interference, but also a merging, and explores the unique dynamism within them. For the large painting, which is the fulcrum of the exhibition, the artist himself engaged in interference with and destruction of a metal object, and painted from photographs of the resulting form. The transformed metal matter, which underwent destruction at the hands of the artist – a physical body – encounters light, and while its identity has been destabilized, it remains, functioning like a trace of light. Through the aggressive process of destruction, its world impacts in a more vague and expansive territory, as though merging, spreading on the canvas like a universe. It captures what the material hides and reveals under pressure, the eternal interference and resonance between them, and a moment that is in constant transformation.

Artist Statement:
‘Afterlight’ suggests a state that exists after illumination—after impact, after revelation, after transformation. It is the residue of light, but also what becomes visible once the glare has passed. In the context of my work, the title speaks to the tension between organic bodies and technological surfaces, between what is revealed and what is concealed when materials are altered, distressed, or allowed to rupture.
Light plays a significant role in my practice: chrome, latex, metal, and synthetic textures all respond to illumination by reflecting, distorting, or absorbing it. Afterlight names the moment when these materials carry the trace of that encounter—when surfaces show the marks of pressure, friction, and time. It is both an aftermath and a continuation.
The word also resonates with the hybrid beings in my drawings—figures caught between myth and machine, tradition and futurity. They inhabit an “after” space: after myth, after identity, after categorization. They exist in the glow of transformation, neither fixed nor resolved.