Resilient Ornament: Amanda Lydért & Frederik Nystrup-Larsen

How much of life and beauty do we allow ourselves to grow numb to? How often do we sleepwalk through the world amid endless stimulation, unable to notice the flowers emerging through cracks in the asphalt, the leaves that fall and are swept away, the cries and whispers; the closeness and distance of countless lives that quietly move through our everyday surroundings?

We have forgotten the names: the names of plants, of our ancestors, the wisdom carried within their words and in their ancient ways of relating to the world. We forget that trees breathe, that leaves and roots can heal.

Resilient Ornament, opening on Friday May 29, 2026 presents the work of Amanda Lydért and Frederik Nystrup-Larsen. Conceived during their residency at Studio Lazcano in San Ángel, the works arise from an attentive observation of Mexico City’s flora, particularly the flowers that surround the space itself. Resilient Ornament emerges from this tension between memory and oblivion, between what appears merely ornamental and what silently endures within the city and our awareness.

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Frederik Nystrup-Larsen engages in a range of artistic collaborations and projects that further expanded his cross-disciplinary approach, allowing form and process to move fluidly between media while maintaining a restrained, conceptually grounded use of personal experience. In recent years, Nystrup-Larsen has focused on plant blindness through oil painting, investigating how plant species that constitute our everyday environments increasingly go unnoticed and undervalued. This growing disconnection from nature contributes to a diminished understanding of plants’ essential role within the biosphere and accelerates the loss of biodiversity. In response, Nystrup-Larsen documents, preserves, and revitalises local flora. His works function as an archive - one that seeks to restore awareness and foster renewed engagement with the natural world.

Amanda Lydert’s practice oscilliates between the intimate and the relational. Working conceptually across text, painting, and installation, Lydert employs a methodology of collage and sampling, often co-opting the high-gloss strategies of advertising and commercial image culture. Central to her work is an auto fictional and often explicit “I”, resulting in honest, almost confessional self-reflections; yet the “I” insists on appearing as a symptom and a sign rather than as a centre. Through a liberal use of the concepts of resonance and mark-making, Lydert explores how the individual and the world echo one another - how they bruise and brace one another. In a language that borders euphoria, catastrophe and the everyday, her work points to the crashes and collisions in economies played out on earth, specifically those of ecology and attention. Lydert’s way is poetic, always relying on the seduction of beauty, while never neglecting the subversive power of humor.