Justin Fitzpatrick presents us with elaborate and fantastical paintings of mysterious figures and mutating forms; sinewy lines evoke art nouveau detailing, fused with elements of the gothic, macabre, and even body horror. In a portrait of the surrealist artist Pavel Tchelitchew, highly stylised musculoskeletal structures seem visible through the skin, while ornate, vegetal forms and insects link his subject to the earth, to burial, perhaps a resurrection of sorts.

Born in Dublin and based in France, Fitzpatrick works with sculpture and text in addition to painting. His work is informed by metaphysical poetry, mythologies and archetypes, often viewed through a lens of class and sexuality. In 2021, Fitzpatrick had his first institutional exhibition, Alpha Salad, at The Tetley, Leeds.

Vanessa Jones is a figurative painter who often uses self-portraiture to engage the viewer in cross-cultural ideas around myth, beauty and replication – playing with the subversive elements of beauty and its relationship with instinct and danger. For HERE COMES LOVE, Jones builds upon classical themes and subject matters, including Cupid and Psyche, Danaë and the shower of gold, and the winged foot of Kairos, a motif that represents the 'right moment'. Her portraits feel distanced and otherworldly – steeped in Renaissance tradition, but also medieval and primordial symbolic associations, using traditional techniques to render anew the feminine, maternal and horticultural spheres.

Born in Tennessee and based in Dublin, Jones has won numerous awards for her painting practice, including Next Generation, Elizabeth Greenshields, the RDS Mason Hayes & Curran LLP Centre Culturel Irlandais Residency, the R.C. Lewis-Crosby Award and a 'Highly Commended' award in the Zurich Portrait Prize.

Sam Keogh's The Unicorn Surrenders to a Maiden Cartoon is a large-scale figurative collage, part of an ongoing series referencing the 16th-century Flemish tapestry series The Hunt of the Unicorn. Badly damaged during the French Revolution, the surviving fragments of the Unicorn tapestries act as a material index of revolutionary events in Europe. Presented as a 'cartoon', or 1:1 scale production drawing, Keogh's work is densely layered, detailed and intricate, with collaged elements, gold lettering, masked creatures, flaming hearts, galloping animals, tangled limbs and Frankensteined figures – making it difficult to tell where distinct bodies begin or end, and whether they are building or destroying the world they inhabit.

Born in Dublin and based in Glasgow, Keogh works with installation, sculpture, performance, drawing and collage. His work has been shown at the Pompidou Centre, the 15th Lyon Biennale, CCA Goldsmiths, the Douglas Hyde Gallery, and GoMA as part of Glasgow International.

Jennifer Mehigan's prints and paintings fuse diverse media and sources, including 3D scans of her garden, images of plants growing on the graves of strange Irish women, the archive of the Victorian portrait photographer Lady Clementina Hawarden, four-dimensional drawings by the Cork-born mathematician Alicia Boole, and an encrypted Renaissance codex known as the Voynich manuscript. Using paint, inkjet, graphics cards, neural networks, pearl powder and gel, her works blend new and old methods of making and processing the world – a relationship the artist views as a 'strained mother-daughter bond'. Mehigan's wider practice also incorporates CGI, sculpture, perfumery, writing, parties, artificial intelligence and horticulture, deploying sensory experience to explore queerness and femininity.

Recent exhibitions include Nightbloom Chokehold at Douglas Hyde Gallery 2 and Creamatorium 2 at transmediale, Berlin. Born in Singapore in 1988, Mehigan is based between Belfast and Limerick.

Press release courtesy Kerlin Gallery.