Nomad Hamptons 2026

Eric Firestone Gallery is pleased to announce its participation in NOMAD HAMPTONS 2026 with a two-person installation of painted ceramics by Torben Gammelgaard (b. 1972) and paintings by Almo Talud (b. 1985). This is the first U.S. edition of the traveling fair for art and design, and takes place at the Watermill Center, on the East End of Long Island.  

Torben Gammelgaard, a Danish artist based in Copenhagen and Lynæs, paints and glazes large-scale plates and vessels with inventive, whimsically-drawn animals, like birds, turtles, cats, and moose. Directly and expressively rendered, these playful animals occupy the surfaces of the ceramics in a dramatic and seductive way. 

Gammelgaard creates a distinct narrative universe, populated by animals, and rendered with a deliberate simplicity that borrows from a childlike visual language and carries an emotional and psychological charge. In this, it suggests an affinity to painters of the CoBra group of the mid-20th Century. The animals function as archetypal characters—at times playful, at times solitary or absurd—serving as quiet stand-ins for human behavior and resilience. The surfaces are built gradually through repeated incising, painting, glazing, and multiple clay firings, allowing material, color, and gesture to accumulate into a dense, tactile presence. 

Almo Talud was born in Miami, FL, and grew up in Manizales, Colombia. His figurative paintings represent domestic life and celebratory occasions, populated by men and horses, gathered outdoors or around tables. They reflect memories and experiences in the small Colombian city of Talud’s youth and young adulthood. Talud examines these scenes through a queer lens, contradicting the dominant patriarchal culture that surrounded him. 

After completing his secondary education in Bogotá, Talud moved to New York to continue his training at the Art Students League of New York, where he studied for four years. There, he developed a practice focused on figurative drawing and painting.  Upon returning to Colombia, he searched for a subject matter that would reflect his true self: his queer identity, his culture, and the beauty that surrounds Manizales: the mountains, the volcano, the horses his father bred, and the festivals. He also wanted to propose, in his painting, that vulnerability and softness may be part of the masculine experience. Talud’s soft palette and the thin viscosity of his acrylic paints communicate this emotional tone. He looks to self-taught artists, like Colombian artist Noé Leon, for a direct form of expression. The clothing worn by the figures, with patterns echoing interior geometries, is timeless — suggesting a melding of past, present and future.