Pen + Brush at INSCOPE Miami 2026
Camilla Bryd, Hypnagogia, 2024, Oil on canvas, 60×96 inches (diptych)
Pen + Brush is thrilled to return to InScope Miami Beach, with a booth featuring work by three artists: Tracy von Ahsen, Camilla Byrd, and Renee Jones. Centering around the body, works on view offer insight and question how the body interacts with our surroundings, architecturally, historically, and formally. Here, the human body, especially the feminine form, becomes a site of inquiry, authorship, and possibility. Working in collage, oil painting, and ceramics, each artist treats the body as something made rather than given.
Together, von Ahsen, Byrd, and Jones exemplify Pen + Brush’s mission to champion visionary women artists whose practices provoke, subvert, and expand cultural understandings of contemporary art. Reaching across media—collage, painting, and sculpture, our booth at InScope this year shows the body, and indeed, identity as fluid, never stagnant, and something that is open to being remade. Each artist asks us questions of the body— who gets to define it, who gets to see it, and what it can become when its makers decide for themselves.
About the artists:
Tracy von Ahsen is a New York City-based artist whose analog collages, assembled from hand-cut fashion magazine imagery, turn the glossy language of femininity inside out. Von Ahsen’s faceless, veiled, and doubled figures hover in staged domestic interiors, among billowing satin curtains, pink sofas, and thresholds that open onto nowhere, so that the intentions and complexities of the scene become something to be questioned. Her practice is also shaped by years of spiritual inquiry, including time with monks in India, study with Shipibo healers in Peru, and a daily meditation practice. These experiences nourish her curiosity about parallel realities and what might exist beyond our physical selves. Working intuitively, she lets images and recurring symbols lead, often learning their meaning only after they have surfaced across multiple works, a method that echoes the feminist tradition of trusting embodied, nonlinear knowing over received authority. Her compositions ask how much of our identity and external reality is random and how much is chosen moment by moment, and a presence, or Oversoul, often inhabits these threshold scenes, where figures remain suspended between realities, eerie and beautiful, familiar yet unresolved. Von Ahsen has also begun extending her collage practice into fabric, whose capacity to fold, shift, and transform further unsettles the idea of a fixed self and proposes identity as fluid, made, and perpetually open to being remade.
Camilla Byrd is a St. Petersburg, Florida-based painter and MFA candidate at the University of South Florida whose vibrant, life-size oil paintings place women front and center. Inspired by sisterhood, intimacy, and connection, Byrd builds her paintings from collaged lived experience, drawing on photo archives, historical paintings, cinematic films, and personal photographs. She assembles vision boards, ongoing notes, and staged photoshoots into scenes that blend autobiography with fiction, and in doing so rebuilds memory through paint. In her diptych Hypnagogia, two women recline in saturated grass and red, one in acid yellow, the other in satin blue. Around them lie a doll, a deflated balloon, scissors, a safety pin, an alarm clock, and a toy horse, the small relics of girlhood and the threshold between waking and dreaming. Film, surrealism, set design, and theatrical lighting shape the work’s heightened, artificial atmosphere, yet they are not its whole story. Byrd paints at the scale of the body so that viewers meet her subjects on equal terms, as presences rather than objects. Gesture and the body are central to her practice, carrying the emotional contours of adolescence and the quiet evolutions of womanhood. In Byrd’s hands, the intimacy between women becomes a source of psychological depth, shared memory, and power.
Rennie Jones is an artist, architect, and environmentalist based in New York City whose sculptural ceramics investigate feminism, form, and gender through one central tenant: the body is not a given but a site of negotiation. Jones uses the body as vessel, a container for others’ use. Here, it is reshaped it into torsos, breasts, and folds of flesh in dark, unglazed stoneware, then floods their interiors with riotous color, so that what is private, interior, and felt outweighs what is seen. Their work explores the tension between self-identification and the body’s external appearance. It centers queer pleasure, an erotic power Audre Lorde once described as a source of knowledge, to challenge the presumed relationship between gender and anatomy. Jones has been an artist-in-residence at Watershed Ceramic Arts Center, Pocoapoco, and Cité Internationale des Arts, and has taught design at the City College of New York and the New York Institute of Technology. They have also served as assistant instructor at Yale University, Princeton University, and the Fontainebleau School of Fine Arts. For nearly a decade Jones worked as an architect and urban designer in climate adaptation and resilience. They helped communities assess flood and extreme-heat risk, designed nature-based solutions with Coast Salish First Nations in Vancouver, developed flood mitigation plans with cities in Indonesia, and strategized with community leaders in Houston to strengthen neighborhood resilience. That grounding in care, interdependence, and collective survival continues to shape their sculpture. Jones holds an M.Arch from Princeton University and is pursuing a Master of Environmental Management at Yale School of the Environment, focusing on international climate policy and climate displacement, with the aim of helping establish effective carbon pricing and direct capital toward climate action.
(Left) Tracy von Ahsen, Identity Loop, 2025, Analog collage: high fashion magazines and glue, 12 x 9.5 inches (right) Rennie Jones, Fat Lady, 2020, Stoneware, steel wire, acrylic spray paint, latex, oil on canvas, 24 x 15 x 17 inches.
It should also be noted that Pen + Brush will have works available beginning at the $750 price point and as ever, 75% of every sale will go directly to the artist.
