COVER PHOTO: DANIEL QUINTANILLA

No matter how you perceive it, or how you judge something, there’s an opportunity for that ordinary aspect to morph into an exceptional rare work. The surface alone is not enough to tell the story of what’s happening on the inside. It takes a simple investigation to uncover the precious minerals forming in progress. This form of deep dive is called Alchemy.

That’s what the Debbie Dickinson Gallery in its latest exhibit titled “Alchemy” is presenting for her upcoming pieces of art work.

Debbie Dickinson will unveil “Alchemy” this coming Thursday, September 10 on the first day of New York Fashion Week.

The exhibition opens with an exclusive VIP Reception on Thursday, September 10, 2026, from 4:00 p.m. to 8:00 p.m., and remains on view through September 28, 2026 at Zadeh Atelier, 1244 Madison Avenue, New York City. 10128.

Debbie has rounded up 4 exceptional artists who are Stephanie Fuller, Michael Katz, Elena Seroff, and Anthony Haden-Guest, plus luxury jewelry designer, Catherine Zadeh with their uncovering of “Alchemy” in their eyes.

Stephanie Fuller uses Indian Ink to best describe the woman she sees through gesture and elegance which makes Stephanie’s work not ordinary. Stephanie loves to highlight young, privileged girls and magnify how large their presence is on society. You don’t just see a “Les Demoiselles” as Stephanie labels a young girl of high society. Stephanie takes each young girl in their own superficial crisis which Indian Ink uniquely captures once you observe Stephanie’s work.

Michael Katz’s painting is animated by a charged balance between exuberance and restraint. Saturated yellows, reds, turquoise, violet and green push against passages of black and earthy brown, creating a pictorial space that feels at once open and densely inhabited. The work refuses a single point of focus; instead, forms emerge, overlap, dissolve and reappear, giving the painting the quality of something continually becoming.

What initially appears chaotic gradually reveals an underlying structure. Sweeping dark strokes anchor the composition while brighter colors flare around them, producing a rhythm that is less about conflict than transformation. Katz allows ambiguity to remain active. One can glimpse suggestions of landscape, figure, foliage or architecture, but none is permitted to harden into representation.

The strength of the painting lies in this instability. It occupies the threshold between recognition and abstraction, where color becomes sensation and gesture becomes a way of thinking. Rather than resolving its tensions, the work holds them in suspension, creating a visual field that feels energetic, mysterious and unexpectedly alive.

The title ALCHEMY is especially apt because the painting is less about depicting a subject than about transformation itself. Color becomes atmosphere, gesture becomes structure, and tension is converted into energy. 

In that sense, ALCHEMY is not simply a title but a key to the work: the painting enacts a process of turning raw visual material into something charged, mysterious, and alive.

If you brought New York City and the Mediterranean together in one place, you’d find with “Adam & Eve Rebirth” by Elena Seroff. Having both places as inspiration gives Elena the unbridled liberation to deliver this bold man and woman who carved out society norms. New York City provides architectural and moving energy via ink as it provides the lines, structure, and foundation. The Mediterranean fills the canvas with color as it plays a pivoting role in providing life, emotional aspects, and atmosphere.

If you think a simple pencil drawing is exciting, then Anthony Haden Guest has no enthusiasm for you. Especially if it’s a failed pencil drawing. Anthony combines pencil with ink for a much more exciting approach to humor and satire as Anthony approaches “Alchemy” being funny and acute. Anthony wittingly approaches his drawings based on personal experience as well as simple human observation. Anthony will also present the story behind T.S. Eugnedaha and the character’s place within his art at the opening of “Alchemy”.

Though, not on canvas or sculpture, fine jewelry designer, Catherine M. Zadeh, takes reclaimed buffalo horn, exotic woods, and parachute cord to combine them with gold, silver, and diamonds. These vital union of raw materials celebrate the idea of “Alchemy” by turning them into beautiful fine jewelry.

LUXURY IS NOT A MASK. IT IS AN EXPOSURE.

In a world obsessed with the fleeting—the “pretty face,” the trend, the temporary—ZADEH stands for the permanent. We do not design for the masses. We design for the individual who has already arrived.

For us, jewelry is not an accessory. It is an architectural extension of the self. We trade in the raw and the refined: the earthy texture of buffalo horn, the industrial strength of parachute cord, and the cold brilliance of precious metals. These are not mere ornaments; they are the artifacts of a life lived with intention.

Beauty is the baseline. Character is the achievement.Most brands seek to decorate you. ZADEH seeks to reveal you. Because at the end of the day, a face is just a face. But character? Character is the only thing worth wearing.

ZADEH.
Beyond the Surface.

ALCHEMY invites collectors, curators, designers, patrons, and art enthusiasts to experience an extraordinary convergence of contemporary fine art and luxury design during one of New York City’s most celebrated cultural and fashion seasons.

In the spirit of philanthropy, a portion of the proceeds from all exhibition sales will benefit the Alzheimers Association Imagine Benefit, supporting its mission to advance research, provide care and support for families, and work toward a future without Alzheimer’s disease.

DANIEL QUINTANILLA