In-between Ibiza presents Being Her, a new group show exploring femininity, memory and desire through the work of Aidha Badr, Yulia Zinshtein, Poppy Faun and Miranda Makaroff, on view in Dalt Vila.

How do we become who we are, and how many versions of ourselves do we carry along the way? Being Her, the new group exhibition at <a href="https://www.instagram.com/inbetweenibiza/?hl=en">In-between Ibiza gallery</a>, refuses to settle on one answer. Curated by <a href="https://www.instagram.com/najharfouch/?hl=en">Naj Harfouch</a> and housed within the ancient walls of Dalt Vila, the show brings together four artists, Aidha Badr, Yulia Zinshtein, Poppy Faun and Miranda Makaroff, whose practices, each with its own visual language, share a common ground: femininity not as fixed identity, but as something accumulated, performed and continually revised. The result is an exhibition that feels less like a group show and more like a conversation conducted across canvas, memory and the spaces between what we show and what we hold back.

The result is an exhibition that feels less like a group show and more like a conversation conducted across canvas, memory and the spaces between what we show and what we hold back.

That conversation opens with <a href="https://www.instagram.com/aidhabadr/?hl=en">Aidha Badr</a> (b. 1996, Brooklyn), a trained portrait painter working through a very particular kind of loss: the moment, early in a woman’s life, when desire and attachment first take shape, and longing becomes something permanent. She paints in an abstract timeline, working from her childhood self, piecing together what she remembers with what she was only ever told. For Being Her, that reconstruction circles a single event: her departure from Cyprus, and the grief of losing a place that once meant home. No matter how many times she returns, she says, it will never feel like home again, “it would just feel like a long memory.” The chairs that recur across her canvases speak to companionship: one for you, one for your feet, or for someone you once loved. The roses signal desire, and the reluctance to act on it. Ordinary objects, rendered, in her words, with complete sincerity.

Where Badr’s memory is private and inward-looking, <a href="https://www.instagram.com/yulzina/?hl=en">Yulia Zinshtein</a>’s plays out in public, in the everyday theatre of social life. Born in Philadelphia to Ukrainian parents, Zinshtein relocated to Moscow at the age of ten, and that constant displacement has become her subject as much as her circumstance: art, for her, is a way of making something permanent in a life built from temporary arrangements. Her compositions draw straight from lived scenes, a crowded Galaxy bar and a second martini, a heartbroken night spinning under red lights and red dresses in Rhianne, Kiera, Molly, rendered with a lightness that never tips into sentimentality. “I often feel like I’m acting in a performance of my own identity and desires as a woman,” she says, “something I both enjoy and question.” Her paintings sit comfortably in that ambiguity, finding inspiration in the very act of moving around.

<a href="https://www.instagram.com/poppyfaun/?hl=en">Poppy Faun</a>, a self-taught multi-disciplinary artist working between painting, collage and mixed media in Brighton, UK, pushes the question of performance further still. She begins not with lived memory but with found photographs of women from the 1970s, drawn, she says, to “their expressions, their poses, their confidence and their vulnerability.” By blurring and reworking the figures, she strips away the certainty of the original image: “there is something beautiful about not being able to fully see someone,” she says. “The women become almost like memories, familiar but distant, present but disappearing.” Her recent work focuses on the ways women consciously soften, censor or reshape themselves to move through the world without being reduced to sexual interpretation, an instinct she sums up simply: “I want to allow the women to simply exist as people.” Over the past year she has moved predominantly into oil paint, a shift that has brought greater depth and physicality to her most personal body of work to date.

If Faun works by subtraction, <a href="https://www.instagram.com/mirandamakaroff/?hl=en">Miranda Makaroff</a> (b. 1987, Barcelona) works by excess. She grew up watching her father, the filmmaker and photographer Sergio Makaroff, build stories out of images, and that instinct never left her, it just changed medium, spilling across canvas, ceramic, mural and textile, wherever colour and line could carry it further. Her figures are unapologetic, part fantasy, part confession, funny even when they’re at their most exposed, built to hold desire and vulnerability in the same breath. In Suspensa, her largest work in the show, that instinct reaches full scale: fantasy given enough room to feel like fact. Stand close enough and the work stops reading as painting and starts reading as an offer, something to touch, however playful its surface, and unmistakably personal underneath.

Together, the four artists make the same case in four different registers: the women in these paintings are daughters and lovers, muses and dreamers, performers and protagonists, sometimes all within the same canvas. Femininity, in their hands, is not a fixed point to arrive at but an accumulation of images, inherited, consumed, performed, dreamed. All four practices circle the same in-between spaces: between what is real and what is imagined, between the self and how it gets projected, between who these women are and who they were told to become. Being Her does not answer how many versions of ourselves we carry. It simply proves there is no single one to find.
Being Her is on view at In-between Ibiza, 23 Plaça de Vila, Dalt Villa, Ibiza.

Being Her: Four Artists on Femininity, Memory and the Gaze

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