Gregory de la Haba (b. Astoria, Queens, New York) is an American artist whose large-scale paintings and mixed-media works bring classical traditions of composition into dialogue with the visual language and lived experience of contemporary urban life. Classically trained in painting and a cum laude graduate of Harvard University, de la Haba has developed a practice concerned with tension and equilibrium, light and structure, beauty and disorder, and the forces—physical, psychological, and architectural—that hold things together. 

De la Haba has exhibited internationally at institutions and venues including the Queens Museum, Hangaram Museum in Seoul, Kunsthaus Tacheles in Berlin, Contemporary Istanbul, Art Miami, and the Salzach Biennial, with solo exhibitions in Venice, Rome, and Berlin. In 2024, he was awarded First Prize at the Durrës International Biennale in Albania, where he represented the United States National Pavilion. 

In 2026, de la Haba participated in the 61st Venice Biennale as a guest artist in Diaspora: Dissonance en Fa Mineur at Palazzo Donà dalle Rose. His recent work continues an extended investigation into painting as a means of creating order from competing forces. Across seemingly disparate bodies of work, painting remains the constant: a search for the precise placement of color, form, image, and gesture capable of bringing a composition into balance. 

De la Haba’s work has also developed a growing international collector base. M&A Arts SARL with  fractional-ownership partners, multiple offerings drawn from his Easy Suite, Everything Is Made of Light, and Locus of Being series sold, collectively raising more than €480,000. 

At the center of de la Haba’s practice is a deceptively simple proposition: every painting is a search for equilibrium. 

De la Haba's writings and artworks have been featured in many publications including The New York Times, Southampton Review, Rizzoli’s Irish America, New York Arts Magazine, and Portray. A recent portrait article on de la Haba by Anthony Haden-Guest has just been published in L’Officiel, featuring works from his new “Locus of Being” series.

https://lofficiel.at/art-culture/everything-is-made-of-light/

Solo Shows:

·   Upcoming 2025-2027

A “Traveling Exhibition” across several countries in South America is planned for 2026/2027  

An exhibition is scheduled at Pildong Gallery, Seoul, South Korea, this September

·   2025

“Gregory de la Haba“, M-Art Center (8H Exhibition Hall), Seoul, South Korea - Ongoing

“Hamptons Fine Art Fair“, Dorian Grey Projects, Southampton, USA

Three paintings adorned the walls of Mbassy, a trendy new restaurant in Düsseldorf, Germany

“Palimpsestos: Everything Will Be Visible, Eventually”, Geuer & Geuer Art, Düsseldorf, Germany

·   2024  

“Take It Easy“, Luisa Catucci Gallery, Berlin, Germany

“The Durrës International Biennale of Contemporary Art (DIBoCA)” representing The National Pavilion   

  of the United States of America, Durrës, Albania

“Master Painter from New York”, Gouter Gallery, Seoul, South Korea

·   2023

“Light Tensions”, Kou Gallery - Curated by Massimo Scaringella , Roma, Italy

“Amplified Dimensions”, Marina Bastianello Gallery - Curated by Massimo Scaringella, Venice, Italy

“Invitational Exhibition”, Hangaram Art Museum, Seoul, South Korea

“Portals to New York”, TwoFortyThirty, New York, USA

·   2019

“Vertical Horizons/Horizontal Waves: Totem Poems”, Meta Gallery, Monaco

Selected Group Shows: 

·   Upcoming 2025-2026

“Venice Biennale”, Venice, Italy – April to November 2026

·   2025

“Sylt Art Fair”, Geuer & Geuer Art, Sylt, Germany – Ongoing (June 7-September 4)

“Daegu Art Fair International”, Daegu, South Korea

·   2024

“Dakar Biennale”, Dakar, Senegal 

 “Be Colourblind” with the Finnish artist Hannu Palosuo, Tehdassaari, Nokia, Finland

“Art on Paper New York” Art Fair, New York, USA

“Sylt Art Fair”, Geuer & Geuer Art, Sylt, Germany

“4-Person Battle”, Gouter Gallery, Seoul, South Korea

“In Bloom” Oscar Molina Gallery and Yubal Màrquez Fleites Contemporary & Fine Art, Southampton, USA

“Contro Corrente”, Fondation Léopold Sédar Senghor, Dakar, Senegal

·   2023

“The Others” Art Fair, Torino, Italy

“Larnaca Biennale: Home Away From Home”, Larnaca, Cyprus

“Simbolismi della Visione”, Rome Art Week - Curated by Luisa Catucci & Massimo Scaringella, Rome, Italy

“I Sing The Body Electric”, Jane’s Room - Curated by Raul Zamudio, New York, USA

“Inaugural Group Show”, 484 Gallery - Curated by Dalton Portella, Montauk, USA

“Summer Of Love”, Yubal Màrquez Fleites Contemporary & Fine Art, Southampton, USA

·   2022

“Art & Automobiles” First City Project Collective, Glen Cove, USA

“Rawthentic”, Brooklyn Art Haus, New York, USA

“Sylt Art Fair”, Geuer & Geuer Art, Sylt, Germany

·   2021

“Thinking Out Loud”, Pulpo Gallery - Curated by Katerina & Nico Zeifang, Murnau Am Staffelsee, Germany

“A Daze of Roses”, Mizuma & Kips Gallery, New York, USA

·   2020

“Sylt Art Fair”, Geuer & Geuer Art, Sylt, Germany

“QiPO Art Fair”, Mexico City, Mexico

These three paintings are part of a new series by de la Haba titled “Locus of Being”, which he began in 2025. This body of work continues the themes explored in his earlier series, “Light Tensions”, which was initiated a few years ago and featured in his recent solo exhibition at Geuer & Geuer Art in Düsseldorf, as well as in previous shows in Seoul, Rome, and Venice.

The “Locus of Being” series features a combination of expressive and structural elements that utilize a quantum character to achieve a certain splendor. They take recognizable effects from formal plateaus of past production yet extend them into a more elegantly complex composition. The notion of a quantum reality infuses them with profound significance. De la Haba takes the humble silhouette and places an ambivalent form dissembling before forming into something real —like an echo of a past event forever felt; like light refracted from distant stars; or a ripple in a pond following the same gravitational force that causes tsunamis, and places it at the service of painterly beauty. The spectator is placed in direct contact with an event that seems to have seemingly infinite potential. Whether it’s judged formally or metaphorically, it manifests archetypally to affect us in ways we have yet to comprehend. What we perceive in each image is kaleidoscopic, rendering into multiple meanings that do not allow facile deciphering. We enter the code of de la Haba’s vision, separated from reality by the liminality of vision. We become part of the locus, as our beings reflect the future of the work.