British painter Flora Yukhnovich presents her first solo exhibition in Los Angeles and debut with gallery Hauser & Wirth: “Bacchanalia” at their Downtown Los Angeles space (30 October 2025 – 18 January 2026). 

Drawing upon artistic traditions from French Rococo to Italian Baroque and Abstract Expressionism, Yukhnovich’s latest large-scale canvases present a whirlwind of lush brushwork and layered imagery that evoke both ancient rites of hedonism and today’s consumer-culture glut.  

In “Bacchanalia”, Yukhnovich probes how excess — as idea, image and material force — can slip into obscurity rather than clarity. Her compositions resist a single focal point, dissolving and coalescing in torrents of colour and texture before recognizable forms emerge or vanish.

Each painting begins in the studio with visual fragments pinned to mood-boards — snippets of myth, branding, classical architecture, film iconography — from which a compositional logic and chromatic rhythm emerge. For example, in Party in the U.S.A. (2025) she re-works the Columbia Pictures “Torch Lady” logo, preserving the widescreen ratio while pouring it into a swirling ocean of paint that both celebrates power and hints at its undoing.   

Two key reference points anchor the exhibition’s conceptual terrain: the Roman emperor Heliogabalus, infamous for allegedly drowning his guests in rose petals; and The Roses of Heliogabalus (1888) by Lawrence Alma‑Tadema, who shipped thousands of roses from France to London in his own act of decadent excess. Yukhnovich mines this historical spectacle to examine the pleasures of painting itself.   

Meanwhile, her work will coincide with another major project: her site-specific mural “The Four Seasons” in response to François Boucher at New York’s The Frick Collection (3 September 2025 – 9 March 2026).    

b. 1990, United Kingdom

In a recent interview, Yukhnovich said:

“I’m interested in what happens when repetition drains symbolism — when something meant to signify order begins to feel unhinged. I’d like my paintings to capture that tipping point, layering imagery until structure gives way to excess. Like a bacchanalian unravelling or like a still life just before the fruit starts to rot.”    

This exhibition marks a bold step in Yukhnovich’s ongoing exploration of how decoration, luxury and historical style can meet urgent contemporary concerns — identity, consumption, digital culture — through the language of paint. 

Hauser & Wirth was established in 1992 in Zürich by Iwan Wirth, Manuela Wirth and Ursula Hauser, with Marc Payot joining as Partner and President in 2000. 

Operating as a family-run enterprise with a global vision, the gallery now represents more than 90 artists and estates who have significantly shaped its identity and serve as the muse for its broad programme encompassing art, education, conservation and sustainability. 

From its earliest years, the gallery earned a reputation for artist-led support and ambitious curatorial undertakings.

 It doesn’t just host exhibitions — it collaborates with prominent curators to deliver museum-quality surveys, invests in research and scholarship, and commits itself to historically meaningful programming. 

Additionally, Hauser & Wirth is distinguished by its thoughtful transformation of heritage buildings into contemporary art venues.

 Its flagship Zürich location occupies the former Löwenbräu brewery; its London home is housed in a historic Edward Lutyens bank building; and its Los Angeles forum was born from a 100,000-sq-ft flour-mill complex. 

In short, Hauser & Wirth functions not merely as a commercial gallery but as an international cultural institution — championing artists, nurturing scholarship, revitalising architecture and engaging communities worldwide.