Benzilla & Imon Boy: Nothing is Minor: Visual Records of Feeling, Repetition, and Restlessness
Nothing is Minor sets the tone for this exhibition by offering a simple but pointed proposition: what we often dismiss as unimportant or ordinary may, in fact, hold the most meaning. The title invites visitors to reconsider where significance lies — not only in big statements or grand gestures, but in daily habits, subtle emotions, and repeated images that quietly shape how we live and feel.
This exhibition presents the work of two artists who approach that idea from very different directions. Thai artist Benzilla creates dense, fast-moving compositions that draw from pop culture, digital overload, and urban life. Spanish artist Imon Boy paints quiet, contemplative scenes based on his personal surroundings, memories, and emotional states. Their visual styles are contrasting, but their attention is focused on the same thing: the textures of everyday experience.?
For Imon Boy, the minor is literal and intimate. He paints dimly lit rooms, pets, screens left on, and other quiet moments that reflect inner states. His recurring symbols — beds, cats, dusk, water — form a language of emotional repetition. These paintings ask us to slow down and pay attention to what often escapes notice. Feeling, for Imon Boy, is not dramatic. It is ambient, persistent, and deeply human.
Benzilla, on the other hand, captures the noise of the outside world. His works are filled with logos, emojis, and visual debris from internet and consumer culture. At the centre of these paintings is LOOOK, a three-eyed character navigating overstimulation. What may seem loud and playful at first becomes a record of the constant input we absorb. The small fragments that flood our screens every day are not insignificant. For Benzilla, they are the building blocks of thought, identity, and emotion.
By placing these two artists side by side, Nothing is Minor encourages a different way of looking — not for spectacle, but for pattern, mood, and repetition. Whether through Imon Boy’s meditative stillness or Benzilla’s chaotic layering, both artists suggest that our most ordinary encounters carry psychological and cultural weight.
What visitors will find in this exhibition is not a single message but a shift in attention. It is an invitation to notice what you usually ignore, to feel what you might not name, and to find meaning in places you may have once considered too small to matter.
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Nothing is Minor sets the tone for this exhibition by offering a simple but pointed proposition: what we often dismiss as unimportant or ordinary may, in fact, hold the most meaning. The title invites visitors to reconsider where significance lies — not only in big statements or grand gestures, but in daily habits, subtle emotions, and repeated images that quietly shape how we live and feel.
This exhibition presents the work of two artists who approach that idea from very different directions. Thai artist Benzilla creates dense, fast-moving compositions that draw from pop culture, digital overload, and urban life. Spanish artist Imon Boy paints quiet, contemplative scenes based on his personal surroundings, memories, and emotional states. Their visual styles are contrasting, but their attention is focused on the same thing: the textures of everyday experience.?
For Imon Boy, the minor is literal and intimate. He paints dimly lit rooms, pets, screens left on, and other quiet moments that reflect inner states. His recurring symbols — beds, cats, dusk, water — form a language of emotional repetition. These paintings ask us to slow down and pay attention to what often escapes notice. Feeling, for Imon Boy, is not dramatic. It is ambient, persistent, and deeply human.
Benzilla, on the other hand, captures the noise of the outside world. His works are filled with logos, emojis, and visual debris from internet and consumer culture. At the centre of these paintings is LOOOK, a three-eyed character navigating overstimulation. What may seem loud and playful at first becomes a record of the constant input we absorb. The small fragments that flood our screens every day are not insignificant. For Benzilla, they are the building blocks of thought, identity, and emotion.
By placing these two artists side by side, Nothing is Minor encourages a different way of looking — not for spectacle, but for pattern, mood, and repetition. Whether through Imon Boy’s meditative stillness or Benzilla’s chaotic layering, both artists suggest that our most ordinary encounters carry psychological and cultural weight.
What visitors will find in this exhibition is not a single message but a shift in attention. It is an invitation to notice what you usually ignore, to feel what you might not name, and to find meaning in places you may have once considered too small to matter.
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