Our artists

Ada Zachi is a visual artist who graduated from the National University of Arts in Bucharest and further honed her skills at the Accademia di Belle Arti di Brera in Milan. Her kaleidoscopic career is as vibrant and diverse as her artworks, which have been shown in galleries from her hometown in Romania to the cultural centres of Italy. She has been a member of the Association of Plastic Artists of Bucharest since 2005 and has presented her vision through numerous group exhibitions in venues such as the National Geology Museum, the Palace of the National Military Circle, the World Trade Centre Bucharest and the Friedrich Schiller Cultural House.

Her recent works have been part of the "ART 4 ALL Winter Saloon - 3rd Edition", "Abstracts" at the Barbagelata Contemporary Art Foundation and insightful installations at the Romanian Academy Library and the National Museum of the Romanian Peasant. Each exhibition marks her deep exploration of themes ranging from the philosophical to the fantastical. Her solo exhibition "Yin-trospection" at the Metropolitan Library of Bucharest was a meditative introspection through art, inviting viewers to explore the depths of inner space. This exhibition reflected her personal journey and her understanding of art as a bridge to the soul. Zachi's talents extend beyond the canvas as she also lends her artistic flair to literary works. She has illustrated for the 2022 FGCR calendar, the Purple Moon Women Agenda and campaign materials for the Princess Margareta of Romania Foundation. Her illustrations for the December issue of "Time Chronical" magazine show her versatility and ability to capture stories visually. Her artistic contributions have been recognised in publications such as ANTIDOT ART magazine, which celebrates her as a creator of "multiple diamond-like sparks". Ada Zachi is a dynamic and passionate artist who communicates complex emotions and ideas through a rich tapestry of colour and form.

Her work is not only seen, but experienced and leaves a lasting impression on the audience. With a background as colourful as her art, Ada stands out as a beacon of creativity and is a testament to the transformative power of artistic expression. An artist of multifaceted talent, Zachi takes viewers on a journey through a spectrum of emotions and experiences. Her oeuvre encompasses the contemplative abstraction of the human figure, the precise elegance of architectural drawings, the rich texture of still lifes, the whimsical appeal of surreal landscapes, the expressive freedom of floral compositions, the visceral impact of powerful abstractions, the cultural vibrancy of communal scenes and the harmonious melodies in musical still lifes. Ada Zachi captures the essence of diverse realities.

Her art is a testament to a deep engagement with the world, manifested in a variety of mediums and styles, each piece an invitation to pause and reflect on the interconnectedness of our experiences. Zachi's work demonstrates a deep commitment to a wide range of themes, from the tangible to the ethereal, from the personal to the universal.

Andrés Torres ist ein ecuadorianischer Künstler, der in seiner Arbeit die Grenzen zwischen Individuum und Gesellschaft auslotet und dabei soziale Interaktion, Gemeinschaft und den Moment des Erlebens ins Zentrum stellt. Geboren 1987 in Quito, zog es ihn früh nach Europa, wo er sein Studium an der Akademie der Bildenden Künste München bei Peter Kogler und später im Bereich Site-Specific Art bei Paul Petritsch an der Universität für Angewandte Kunst Wien abschloss. 

Seine künstlerische Praxis umfasst Zeichnung, Malerei, Skulptur, Fotografie, Film, Multimedia, Installationen und Performance. Immer wieder setzt Torres den eigenen Körper als Medium ein, um humorvolle, provokante und mitunter konfrontative Begegnungen zu schaffen. Dabei werden Zuschauer*innen nicht nur Beobachter, sondern Teil der Arbeit selbst. Spontaneität, Chaos, Widersprüchlichkeit, aber auch Sinnlichkeit und politische Aufladung prägen seine Performances und Installationen, die gesellschaftliche Normen, kulturelle Konventionen und nationale Identitäten hinterfragen. 

In seinen bildnerischen Arbeiten – darunter Werke wie Tiro de Gracia, Square Waves, Impact, Compression / Expansion oder Big Blur – erforscht er Prozesse von Verdichtung, Auflösung und Bewegung. Abstraktion und Struktur, Zufall und Kontrolle stehen in einem Spannungsverhältnis, das den Betrachter*innen neue Perspektiven auf Wahrnehmung und Wirklichkeit eröffnet. 

Neben seiner künstlerischen Arbeit engagiert sich Torres stark sozial: Er initiiert Kultur- und Bildungsprojekte für Kinder und Jugendliche in Ecuador und Deutschland, leitet Workshops und fördert den interkulturellen Austausch zwischen Künstler*innen und Kulturschaffenden. Dieses Engagement spiegelt sich auch in der Gründung des Künstlerkollektivs H is the Shit / Dopamin wider. 

Seine Werke wurden international ausgestellt, unter anderem in München, Wien, Berlin, Venedig, Quito, Amsterdam, Barcelona und St. Petersburg. Anerkennung fand er zudem durch zahlreiche Stipendien und Förderungen, darunter die Projekt- und Ausstellungsförderung der Landeshauptstadt München, das Bayerische Staatsministerium (Young Art and New Ways) sowie internationale Residenzen. 

Für Torres ist Kunst ein Mittel der Begegnung: ein Spiegel, der gesellschaftliche Strukturen sichtbar macht, und zugleich ein Raum, in dem Menschen in neue Rollen, Sichtweisen und Empfindungen eintreten können. Seine Arbeiten laden dazu ein, sich auf das Unvorhersehbare einzulassen und im Augenblick die Grenzen zwischen Kunst, Leben und Gemeinschaft zu hinterfragen.

Andreas Schmidtknown by his acronym ASAK, is a German artist who lives in Cologne. ASAK creates unique and intricate works of art from old vinyl records - a medium that is as fascinating as it is challenging. Vinyl, a material that melts under heat, rebonds or can break uncontrollably, is something Schmidt has spent years mastering. With daily dedication between 2013 and 2018, he perfected techniques to work vinyl records in a way that preserves their characteristic patina while utilising their malleable properties in extraordinary works of art. ASAK's works, which contain between 3000 and 4000 recycled records, represent more than just creative aesthetics.

His upcycling approach conveys a strong message in favour of environmental protection. He shows how supposed rubbish can be transformed into something beautiful and encourages viewers to rethink the appreciation of resources and the role of art in the context of sustainability. His artworks, including picture frames, sculptures and wall art, are characterised by attention to detail. ASAK doesn't just work with random records - he takes into account the differences between singles and long players to create unique patterns and effects. For him, vinyl is an underrated material that could be used not only in art, but also in other areas such as architecture and design. ASAK describes his art with the terms "action, resignation, transformation". For him, art is a universal expression of the world of thought that opens up new perspectives for both the creator and the viewer. His works are not accusations, but offer solutions and stimulate reflection. Art, according to Schmidt, is more than just expression; it is transformation. Inspired by artists such as Banksy, MC Escher, Kasimir Malevich and Gerhard Richter, he combines simplicity, technical precision and profound reflection in his works. Banksy's globally understandable language encouraged him to develop his own voice through his art, while Escher taught him to utilise the connection between art and mathematics. Malevich and Richter showed him the importance of architecture, chance and structure in art.

Andreas Schmidt is an artist who has made a name for himself not only by creating unique artworks from recycled vinyl, but also with his passion for sustainability and his ability to use art as a universal language. His works epitomise creativity, innovation and the belief that art can be a platform for positive change in the world.

Badriot is the artist name of Adrian Lupu, a Bucharest-born artist and philosopher whose work is a unique blend of classical academic drawing and a playful, immaterial grace. Badriot's artistic journey developed further after his move to Luxembourg in 2011 when he studied art for two years under the guidance of Vania Mendanha. Since then, he has focused on developing his unique style that combines traditional artistic techniques with a modern sensibility.

His work is a mixture of classical drawing and a lightness and immaterial grace that is visible in the fluidity and dynamism of his figures. Badriot finds inspiration in the perfectionists such as Edgar Degas and Gustav Klimt, whose precise drawings deeply influence his approach to form and line. He draws inspiration from the masters of drawing and painting and combines the technical expertise of classical artists with his modern sensibility. His influences can be recognised not only in the technical execution of his works, but also in the emotional depth he brings to each portrait. He approaches portraiture with an understanding of the human condition and translates philosophical and personal reflections into visual art. Focusing on the human figure, many of his works capture both the fragility and strength of the human being.

His mastery of the depiction of the human body is evident in his extensive collection of works, which he has collected annually since entering the art world. Badriot's style is characterised by meticulous attention to detail, combining classical academic techniques with a personal artistic freedom. His works often depict people in pensive poses and capture raw moments of human expression. The use of light, shadow and minimal colour allows the figures to emerge from the paper or canvas, creating a powerful and immersive experience for the viewer. His works include drawings in graphite and charcoal as well as vibrant, expressive paintings. In his latest works such as The Look, Isabel and Head of a Child, he explores the intricacies of the human face, capturing emotions and stories through minimalist yet expressive shapes and lines. In his paintings and drawings, Badriot continues to explore the intersections of realism, expressionism and abstraction, inviting the viewer to not only engage with the work, but to make an emotional connection with the subject. Badriot has regularly participated in the Luxembourg Art Prize, where he has received an honourable mention three times.

Barbara D'Angelo Månsson is an Italian-Swedish artist whose works are far more than just visual experiences - they are a feast for the senses. Through her art, Barbara brings the world of modern abstraction to life. Her journey began in Italy, where she initially found inspiration working with charcoal, ink and chalk. But it was the painterly Nordic landscapes of Sweden that ignited her passion for the play of brushes in abstract painting. Her artistic development, which deepened during her stay in the USA, bears witness to her fascination with abstract expressionism and pop art, particularly influenced by the pioneering techniques of Jackson Pollock and the monochrome themes of Mark Rothko. Barbara transformed these formative experiences into vivid canvases that capture her impressions of life far from home.

After her return to Sweden, D'Angelo Månsson's spirit of discovery never waned. Inspired by contemporary masters such as George Rowlett and J. Gallagher, she skilfully integrated the impasto technique into her acrylic works, creating layers of texture that almost invite you to touch them. Her diverse portfolio, a mixture of abstract paintings, drawings, photographs and sculptures, highlights her multi-faceted talent. Favouring acrylic, she enriches her art with techniques such as impasto and the incorporation of natural elements such as sand to create complex textures and layers. In D'Angelo Månsson's creations, unconventional combinations of shapes, textures and themes come together. She aims to connect emotional sensations with the outside world and invite viewers to reflect on our relationship with ourselves, the environment and society. D'Angelo Månsson's art is characterised by vibrant colours, dynamic brushstrokes, the integration of spontaneous marks and an abstract composition. A palpable tension between control and chance, deliberation and spontaneity characterises her style. The gestural nature of D'Angelo Månsson's paintings is spontaneous and uninhibited. Her bold brushstrokes and the mixture of figurative and abstract elements convey a sense of immediacy. The intense colours and sometimes dark tones are reminiscent of the works of abstract expressionists such as Willem de Kooning, whose palette and style often carry a deeper emotional meaning.

Barbara has exhibited her work at numerous art exhibitions and fairs in Europe (Stockholm, Ponte de Lima, Barcelona, Rome, London, Miami, Milan, Madrid, etc.). Her artworks have been featured in international art magazines and interviews, and she has also been recognised in private collections. Barbara D'Angelo Månsson has a remarkable ability to convey her innermost feelings through the universal language of colour and form. Her distinctive style is a unique fusion of her Italian heritage, the influences of her time in North America and the artistic imprint of her Swedish experiences, giving her works an extraordinary individuality.

Cristiana Giacchetti is an Italian painter and sculptor whose roots are deeply anchored in a family of artists. With the fresco painter Aristodemo Giacchetti as her role model, she inherited an unshakeable devotion to art. Under Gualtiero Nocentini, she learnt to find the courage to experiment and push her own boundaries. Giacchetti's works are based in abstract expressionism and are characterised by the use of modern mixed media techniques. She uses a wide range of techniques to create diverse visual effects and textures, which emphasises her mastery of painting techniques. Giacchetti's art emphasises spontaneity, dynamism and passion. Through textured layers of colour, vibrant brushstrokes and an intense use of colour, she creates works that are characterised by passion, depth and movement.

Each of her artworks carries a unique mood and story, shaped by specific colour applications and surface treatments. While some of her pieces have an almost sculptural quality with thick layers of paint protruding from the canvas, others are characterised by delicate, flowing layers of colour that suggest depth and movement. Giacchetti's paintings evoke a variety of emotions and interpretations, challenging viewers to bring their own thoughts and feelings to the works. Her art reflects the artist's inner state and suggests that she explores themes of depth, spirituality and primal roots through her work. She connects with the poetry of the human psyche and enters into a dialogue with her inner world, transforming its shadows into beauty. For Giacchetti, art is a form of soul searching that allows her to gain deep insight into her inner self and transform her darker sides into beauty.

Three central terms summarise Cristiana Giacchetti's artistic essence: Poetry, originality and pareidolia - the latter describing the mind's tendency to recognise meaningful patterns, often leading to optical illusions in the subconscious. Many of her works arise from the primal instinct of gesture, following the poetic and seemingly random movements of the soul or psyche as considered in depth psychology. Yet beyond the appearance of randomness, the viewer is often led to recognise an alternative form - a revelation achieved almost through an optical illusion. It is this secondary image that the viewer constructs through what the philosopher Plotinus called the "spiritual gaze" - an eye that penetrates beyond mere appearances to grasp essence.

Danka Kirchner is a figurative painter who explores the relationship between man and nature. Her works invite us to pause for a moment - they show people in motion, in stillness, in connection with water, animals, plants and light. The scenes do not appear staged, but rather like intimate insights into larger states of being, in which the boundaries between inside and outside, dream and reality become blurred. Kirchner's working process is as multi-layered as her themes. Sometimes she follows a spontaneous impulse, sometimes her pictorial ideas develop over weeks or months.

This combination of intuition and structure characterises the emotional depth and atmospheric density of her painting. The human figure takes centre stage - depicted in its vulnerability, strength and inner contemplation. Swimmers, dancers, dreamers - people in moments of transition, self-awareness or quiet strength. Her work often explores the tension and harmony between the human and the natural. Animals such as swans, herons or other birds do not appear as opposites, but as mirrors. Who learns from whom? Who feels more intensely? Water is one of her most powerful pictorial elements - not only as a habitat for animals, but also as a projection surface for longing, as a place of transformation, stillness and letting go. In works such as Im Pool, Im Rauch der Tiefe and Aufgetaucht, she reflects on identity, body perception and the dissolution of physical reality. Underwater worlds become poetic spaces in which all orientation disappears, light refracts the colours and the outside becomes the inside. This theme runs through several exhibitions - Water Worlds (2024-2025, Nordbad Dresden), Let's Dance! (2024-2025, Dresden) and Spring Dreams (2025, Dresden) - which focus on movement, self-perception and reconnecting with elementary experiences. The plant world also plays a key role in her work. Cacti, flowers, trees and grasses - silent witnesses of time, sources of energy, peace and beauty. In Dunes and Fishermen's Huts (2024, Hvide Sande, Denmark), she focussed on Nordic landscapes and their quiet power. In In the World of Giant Cacti (2025), Mexican nature became a stage for female presence and self-assertion.

For her, nature is not decoration, but a spiritual space for grounding, deceleration and reconnection. Her visual language is characterised by vibrant, luminous colours - always balanced. Her particular sensitivity to light, water reflections and skin tones lends the figures a physical presence without appearing obtrusive. The compositions are often dynamic, characterised by movement, but at the same time imbued with quiet, almost meditative concentration. Her works are figurative, but never banal. Narrative, but never illustrative. They open up spaces for reflection - about our relationship to the world, to nature, to ourselves. Exhibitions such as Seascapes (2025, Hvide Sande) and the group show Streiflichter (2023, Dorfhain) have shown how strongly her paintings resonate emotionally - quietly, powerfully, deeply human.

Dianne Lane Co Tvärne ist eine multidisziplinäre Künstlerin, deren Werk Welten, Materialien und Emotionen miteinander verknüpft. Auf den Philippinen geboren und heute in Schweden zuhause, hat sie eine künstlerische Sprache entwickelt, die Skulptur, Textilkunst und Malerei zu einer unverwechselbaren Ausdrucksform verschmilzt. Im Zentrum ihres Schaffens stehen die Bokeshi Dolls, kunstvoll gefertigte Figuren, deren Körper aus Glasflaschen bestehen und die durch Stickereien, Perlenarbeiten, österreichische Kristalle und malerische Details eine außergewöhnliche Präsenz erhalten.

Ihre kreative Reise begann bereits in ihrer Kindheit, geprägt durch unzählige Nachmittage, die sie mit ihrer Großmutter verbrachte. Farben, Fäden, Perlen und Stoffe waren ihre vertrauten Begleiter, Materialien, die ein Gefühl von Geborgenheit schufen und zugleich den Grundstein ihrer künstlerischen Stimme legten. Für Dianne ist Kunst bis heute das, was sie damals war: ein Zufluchtsort. Ein Raum, in dem Emotionen sortiert, Trost gesucht und Freude gefeiert werden dürfen. Jede Figur, jede Komposition trägt Spuren dieser inneren Bewegung.

Intuition wurde ihr wichtigstes Werkzeug. Ein einziger Farbton, die Kurve einer ausgedienten Flasche oder der Glanz einer Perle genügten, um eine neue Geschichte zu eröffnen. Sie beschreibt diesen Moment des inneren Aufleuchtens als eine stille Magie, unmittelbar, sensibel und unmissverständlich.

Diannes künstlerische Praxis umfasst Skulptur, Mixed Media und Acrylmalerei. Jede Bokeshi Doll entsteht in einem Prozess von fünf bis zehn Wochen, ohne Formen, ohne Wiederholungen. Jede Figur ist ein Unikat, aufgebaut aus Glas, lufttrocknendem Ton, Stickereien, Perlenarbeiten, Textilien und präzise gesetzten Farbakzenten. Ihre Arbeitsweise erinnert an Couture-Handwerk ebenso wie an plastisches Gestalten. Nachhaltigkeit spielt dabei eine subtile, aber bedeutsame Rolle: Viele Werke beginnen als gebrauchte Glasflaschen, die sie in kunstvolle Charaktere verwandelt.

Ihre Figuren strahlen Wärme, Fantasie und emotionale Sensibilität aus. Sie verkörpern jene Eigenschaften, die ihr nahestehende Menschen ihr zuschreiben, Herzlichkeit, Achtsamkeit, Vorstellungskraft und eine liebevolle Genauigkeit. Jede Puppe trägt ihre eigene Stimmung, ihren eigenen Ausdruck; sie erzählen von Persönlichkeit, Feinheit und leiser Stärke. Ihre detailreichen Oberflächen belohnen jede Annäherung, offenbaren Stickmuster, Farbspiele und symbolische Verzierungen.

Ihre Kunst bewegt sich zwischen Skulptur, Tradition und zeitgenössischer Formensprache, persönlicher Erinnerung und universeller Emotion.

Heute erweitert Dianne ihre interdisziplinäre Praxis stetig weiter, getragen von Intuition, Erinnerung und der Verwandlungskraft alltäglicher Materialien. Ihre Werke sind intime Welten, klein im Format, doch groß in Imagination. Sie laden dazu ein, in eine Sphäre einzutreten, in der Farbe, Textur und Gefühl zu still leuchtenden Geschichten verschmelzen.

Eleni Gemeni is a Greek digital artist and experimental photographer who lived in Germany for several years and is now based in Luxembourg. She studied art, interior design, economics, translation and applied linguistics. Gemeni values authenticity and connection. Her quiet, understated confidence stems not from a need for validation, but from the knowledge that her art resonates with those who experience it. Her artistic journey began at a young age, experimenting with analogue collage, decoupage and small assemblages. Over time, her quest for artistic fulfilment led her to explore different mediums and techniques. The turning point came with her introduction to mixed media and later to lomography and experimental photography using vintage and artistic lenses.

When she started creating digital art, she finally felt the connection she had been looking for. For Eleni, the tactile experience of using her own fingers, or later a pen on a screen, was a bridge between the traditional and digital worlds. It offered her a sense of immediacy and intimacy in the creation of her work. This artisanal approach redefined her understanding of art as she created something that was both deeply personal and transgressive. Her abstract figurative art with expressive figures expresses her struggle, resilience and emotional depth. These figures are no longer just expressions of creativity, but reflections of her experiences and emotions. They carry the weight of their struggles and the beauty of their endurance. Although abstract, they convey meaningful narratives and evoke deep emotional responses. Whether through photography or digital media, her art explores identity, transformation and the human experience. Her portfolio reflects an impressive combination of technical skill, conceptual depth and emotional resonance. The result is an impressive body of work that blends traditional and contemporary artistic practices. She uses mixed techniques for her digital art. Each medium she employs - be it traditional or digital art, collage, vintage ephemera, photography, traditional and digital drawing, or a combination of all - serves to challenge perceptions and evoke ever-present themes of self-reflection and renewal.

Each work begins with her own photographs - images that range from artistic compositions to textures and seemingly banal objects. These photographs, taken during her explorations of everyday life, are the raw material for her art. Gemeni then transforms these photographs into lush backgrounds, abstract figures and narrative compositions. Her process is both technical and intuitive: she combines photo manipulation, photomontage and digital drawing to create deeply imaginative works that are both visually and conceptually striking. This shift in her work resonated with audiences and gained recognition on renowned art platforms and in communities that appreciated the deep emotional and philosophical dimensions of her art. Gemeni is now an award-winning artist and photographer. She has received numerous honours in international digital art and photography competitions. Her works have been presented on prestigious art platforms and galleries and exhibited in Europe, the United Arab Emirates and the USA. Eleni Gemeni has established herself internationally through numerous awards, exhibitions and publications. Among her honours are the Excellence Award at Little Treasures in Bologna, the Velázquez & Goya Award and the Leonardo da Vinci Prize in Milan, as well as six honorary awards at the 20th Pollux Awards. Her works have been shown in major exhibitions, including Visual Stories in Palermo, ART Shopping at the Carrousel du Louvre in Paris and Contemporary Venice 2023 in Venice. Her work has also been recognised in cities such as Barcelona, Brussels, London and Los Angeles. Eleni's art has been featured in prestigious publications such as Photographize Magazine, Bruxelles Art Vue and Fotonostrum Publications.

Florian Wörrlea German artist from Dillingen an der Donau, studied painting at the State Academy of Fine Arts in Karlsruhe. There he developed a characteristic style that is characterised by expressive applications of paint, dynamic structures and an experimental approach to materials. His works combine traditional techniques with innovative approaches and appeal to the viewer both visually and emotionally. Wörrle's works focus intensively on the relationship between materiality, colour and perception. They reflect the simultaneity of sensory overload and beauty in a changing world. Bold colours and tactile structures lend his works a strong physical presence and challenge the viewer to engage with the work in space. His artistic practice combines spontaneous experimentation with meticulous attention to detail. Nature plays a central role as a source of inspiration and functions as a metaphor for deceleration and permanence, which stand in contrast to the digital age. His art deliberately remains open to interpretation and moves between autonomy and reference, structure and illusion. With his "Shaped Canvases" and colour objects, Wörrle breaks down the rigid boundaries of panel painting and creates works that fascinate through their physical presence. A special feature of his art is the multi-layered technique that combines vivid colours, strong contrasts and organic forms. Flowing colour gradients and dynamic compositions are reminiscent of natural motifs such as fields of flowers or landscapes, whereby natural growth processes and movements are imitated by dripping or flowing colours. Wörrle draws inspiration from major cultural movements such as Abstract Expressionism and cites artists such as Jackson Pollock, Willem de Kooning and Gerhard Richter as role models. At the same time, he addresses contemporary issues such as digitalisation and dealing with floods of images. His work questions traditional visual languages and consciously deconstructs artistic clichés in order to open up new perspectives. Florian Wörrle's works have been presented in numerous solo and group exhibitions in Germany, the Netherlands and Italy. His works are part of renowned collections, including the PIFO Gallery in Beijing, the Kunstmuseum Heidenheim and private collections in Germany, the USA, England and Liechtenstein.

Harri Grimm is a German visual artist and lives near Stuttgart. He studied at the renowned Freie Kunstschule Stuttgart, where he honed his existing skills from 1984 to 1988. With a deep understanding of fine art, he has been focussing on expressive figurative oil painting for several years. Grimm's artistic style is a fascinating blend of realism, impressionism and abstraction. His paintings capture the human figure in all its emotional depth and inner conflict through expressive forms, vivid colour palettes and unique textures. Through expressive facial features and gestures, Grimm places great emphasis on emotion, revealing the inner thoughts and feelings of his subjects.

The vivid colours of his works create an intense emotional impact and capture the mood and atmosphere of his subjects. His powerful, visible brushstrokes give the paintings dynamic movement and depth, emphasising the human forms. This combination of realism and abstraction allows Grimm to create a balance between detailed accuracy and surreal dreamscapes. This effect is enhanced by dynamic textures and visible brushstrokes that make the artworks appear more detailed and realistic from a distance, while conveying a more abstract effect up close. Precise realistic elements are combined with surreal, often abstract backgrounds, creating a unique tension and emphasising the figures in an unusual context. Impressionistic influences are sometimes evident, where light and colour are used to capture the mood of a scene. Soft edges and blurred details enhance this effect. Some paintings also contain mythical or symbolic elements that add a deeper level of meaning and create a surreal, sometimes spiritual atmosphere. His compositions deliberately direct the viewer's gaze and create a narrative or emotional story through gestures, lines and the placement of elements. His works explore the human psyche and emotions in a way that conveys a variety of feelings, from joy and wonder to despair and melancholy.

Grimm's contemporary figurative art therefore evokes a strong emotional resonance. Sometimes cool blue and white tones create a calm but other-worldly atmosphere. The figure appears to be caught in a dreamlike state and offers a unique perspective on reality. The ethereal mood conveys deep contemplation. At other times, the colour palette shifts to warm reds and pinks, contrasted with cooler greens and blues. The focus on the face and eyes suggests introspection and deep thought, giving the painting a melancholic but vibrant mood. In some cases, cool tones dominate with vivid accents, and the close-up of the face surrounded by abstract elements conveys deep reflection and creates a contemplative and dreamy atmosphere. A different story is told in a painting of a stylised figure, almost mythological in form, with strong blues and purples enhancing the otherworldly appearance. A winged figure reinforces the sense of fantasy and creates an ethereal mood that speaks of flight and transcendence. Harri Grimm's art succeeds in immersing the viewer in the emotional experiences of human existence. Through powerful colours, dynamic brushstrokes and captivating compositions, his works lend an unmistakable voice to the modern art scene.

Jacqueline Corman (JacqC), eine belgische Künstlerin, entdeckte ihre Leidenschaft für die Kunst bereits im Teenageralter. Später vertiefte sie ihre Technik und ihren künstlerischen Ansatz durch umfangreiche Abendkurse in verschiedenen Bereichen der bildenden Künste im belgischen Lüttich und an der Accademia del Giglio in Florenz. Viele Jahre lang widmete sie sich ihrer Tätigkeit als Finanzvorstand. Dann beschloss sie, ihr Leben zu ändern und verbringt seitdem die meiste Zeit mit der Schaffung von Kunstwerken.

Jacquelines künstlerischer Prozess ist eine einzigartige Kombination aus Realismus und Abstraktion. Die Natur ist ihre wichtigste Inspirationsquelle, insbesondere ihre faszinierenden Muster und Farbpaletten. Sie orientiert sich meist an greifbaren Szenen, die im Laufe ihres Schaffensprozesses durch Fantasie, Intuition und Emotionen bereichert werden.
Jacqueline schafft Kunstwerke, die kraftvoll, aber dennoch harmonisch und elegant sind.
Die Struktur ihrer Gemälde spielt eine zentrale Rolle. Sie bezeichnet sich selbst gerne als „Kunstingenieurin“, da sie ihre Arbeit mit konstruktiver Methodik und gleichzeitig kreativer Freiheit angeht. Besonders fasziniert sie der Kontrast von Licht und Schatten, der ihren Gemälden eine einzigartige Ausdruckskraft verleiht. Das Spiel intensiver und sanfter Farben ist ein weiterer Schlüssel ihrer Kunst. Mit Ölfarben und dem Einsatz von Malmessern verleiht sie ihren Werken Tiefe, Intensität und sogar einen Hauch von Geheimnis, indem sie Nuancen und feine Details betont.

Ihre künstlerischen Einflüsse reichen von den kraftvollen und farbintensiven Werken der Expressionisten wie Ernst Kirchner und Max Pechstein bis hin zur meisterhaften Hell-Dunkel-Technik Caravaggios. Auch die präzisen Details der Impressionisten wie Pissarro und Sisley sowie Elemente des Kubismus inspirieren sie.

Jacqueline schafft Kunst, die fesselt, berührt und zum Nachdenken anregt. Sie lädt den Betrachter zu einer visuellen Reise ein, auf der Emotionen fließen und persönliche Interpretationen entstehen können. Ihre Werke sind kraftvolle Zeugnisse einer Künstlerin, die mit ihrer einzigartigen Handschrift die Schönheit der Natur mit der Tiefe menschlicher Gefühle verbindet.

Jasmin Meiroseborn in Munich, lives and works in Cologne. After studying fine art with a focus on painting at the Freie Kunstschule in Cologne, she developed an unmistakable visual language characterised by expressive gestures, emotional directness and a deliberate refusal of aesthetic smoothness. Her PAINT IT LOUD series is exemplary of a form of painting that sees itself not only as a form of expression, but also as a form of resistance, against social conventions, against art-historical narratives of dominance, against silence. Meirose's works emerge from an immediate, physical action: the application of colour, traces of the painting process, overlays and breaks remain visible. This painterly immediacy articulates an existential concern: the desire for visibility, for control over one's own image, for liberation from expectations. The works are often raw, contradictory and loud, and this is precisely where their power lies. The central thematic poles are power and powerlessness, identity and attribution, self-assertion and collective memory. Meirose's strategy of "image transcription" is particularly striking: Icons of art history, Susanna in the bath, the artist myth of Van Gogh, the motif of the muse, are not quoted, but disempowered, transformed and recoded. This is not a rejection of tradition, but an appropriation. In her pictures, the female figure no longer appears as an object of observation, but as the subject of action. Formally, the works move between neo-expressionism, art brut and an aesthetic reminiscent of political murals and street art. The colours are loud, the strokes direct, the compositions exuberant. And yet they never seem random, everything is an expression of an attitude, a personal and political message. The irony that pervades some of the works is never banal, but sharp-edged and reflective. She breaks pathos without losing seriousness. Jasmin Meirose understands painting not as a contemplative act, but as a performative protest. Her art is an invitation to friction and a confrontation with our present. Statement: "I don't paint to please. I paint so that something speaks. A picture should not explain, but demand. PAINT IT LOUD is my call for visibility."

Jens Winkler, a German artist from Saxony, discovered his passion for photography at an early age. He began taking his first pictures with his father's camera at the age of 13. He developed and enlarged his photographs himself in a small photo lab before the age of 18. His early involvement with analogue photography and its challenges had a lasting impact on his artistic approach. Large-format photography, with its unique sharpness and attention to detail, became a central theme of his work in the 1990s. Landscape photography in particular, often inspired by the Zittau Mountains, became the focus of his work. Digital medium-format photography opened up new ways of presenting his work. Today, black and white photography forms the centrepiece of his work. The abstraction inherent in black and white opens up extraordinary creative possibilities that go beyond those of colour photography. Light, deep black, radiant white and clear forms are at the centre of his artistic work and characterise his visual language. The works are characterised by space, expansiveness and minimalist compositions that create an atmosphere of calm and balance. Clear lines and simple structures form the basis of the photographic design and emphasise the essentials of the motif. The abstraction in black and white, paired with this reduction, lends the works a special depth and aesthetic clarity that invites the viewer to linger. His works are characterised by intensive post-processing in the digital darkroom, where a large part of the creative process takes place. The aim is to create works that radiate, arouse emotions and invite the viewer to linger. Techniques such as infrared photography lend his pictures an almost surreal character. His repertoire is complemented by architectural photography, which has also recently gained in importance. He draws inspiration from artists such as Ansel Adams, Michael Kenna and Joel Tjintjelaar, but always develops his own visual language. Positive feedback and numerous international awards have confirmed the quality of his works and brought him international recognition. His art has been shown in many renowned exhibitions, including in Venice, Istanbul and Buenos Aires. Winner of several awards, his works are today among the most outstanding examples of contemporary black and white photography.

Joaquim Buttigli, 1972 in Zürich geboren und mit italienisch-dänischen Wurzeln, gehört zu jenen Künstlerpersönlichkeiten, deren Werk aus einer tiefen inneren Wahrnehmung heraus entsteht. Was anfangs als ein stiller Dialog mit dem Unbewussten begann, entwickelte sich im Laufe der Jahre zu einer Bildwelt voller Schichtungen, energetischer Verdichtungen und poetischer Andeutungen. Seine malerische Ausbildung in verschiedenen Meisterklassen und Workshops schärfte seine technische Handschrift, ohne die intuitive Offenheit seines Prozesses zu begrenzen. Die Kunst wurde für ihn zu einem Raum unmittelbarer Erfahrung, in dem sich innere Bewegungen direkt in Farbe, Rhythmus und Geste übersetzen.

 Seine Arbeiten wurden in zahlreichen europäischen Städten präsentiert – darunter Paris, Barcelona, Venedig, Hamburg, Toronto, Ulm und Zürich – und fanden auf internationalen Kunstmessen ein breites Echo. Diese kontinuierliche Präsenz unterstreicht seine Bedeutung innerhalb der zeitgenössischen abstrakten Ausdrucksmalerei und zeigt, wie sein Werk über geografische und kulturelle Grenzen hinweg Resonanz erzeugt.

 Im Zentrum seiner Malerei steht die Erforschung psychischer Räume. Viele seiner Werke wirken wie verdichtete Energiefelder: pulsierende, kreisförmige Formationen, die gleichzeitig nach außen strahlen und nach innen sinken, als ob sie Momente emotionaler Transformation festhalten. Die kurzen, kraftvollen Pinselzüge, die sich schichtweise übereinanderlegen, erzeugen vibrierende Oberflächen, die zwischen Ordnung und Auflösung oszillieren. In anderen Gemälden scheinen farbige Schleier über die Leinwand zu gleiten – vertikale Bewegungen, die Übergänge markieren, Grenzräume zwischen Wachheit und Traum, Klarheit und innerer Unschärfe.

 Auch seine figurativen Arbeiten sind von dieser psychischen Spannung durchzogen. Die Gesichter erscheinen verschoben, überlagert, gebrochen – Ausdruck innerer Stimmen, die gleichzeitig miteinander verschmelzen und sich voneinander lösen. Nichts bleibt statisch; jede Linie, jeder Farbauftrag suggeriert Bewegung, Suche, Wandlung. Buttigli malt nicht mit der Absicht, erzählerische Klarheit zu schaffen. Er öffnet vielmehr Räume, in denen emotionale Zustände sichtbar werden, die sich rationaler Auflösung entziehen. Seine Werke laden Betrachterinnen und Betrachter ein, ihren eigenen Resonanzen zu begegnen – als wären die Gemälde Spiegel, die im Inneren mehr enthüllen als im Außen.

 Die Stärke seines Werks liegt in dieser Balance zwischen Wildheit und Präzision, zwischen explosiver Geste und ruhiger Tiefe. Buttigli gehört heute zu den Künstlern, deren Malerei intuitiv, energiegeladen und zugleich feinfühlig bleibt – ein Werk, das sich stetig weiterentwickelt und doch immer in der Haltung verwurzelt ist, dem Moment des Entstehens zu vertrauen.

John Moran is a bi-national, politically and socially engaged glass sculptor and mixed media artist. An American with Belgian citizenship, he currently lives and works in both Belgium and the United States. He has travelled extensively throughout Europe and spent a year and a half in China in 2004. His academic and artistic career reflects an in-depth study of the fine arts. He began his education in 2006 with a Bachelor of Fine Arts from Tyler School of Art, Philadelphia, Pennsylvania, graduating with honours. In 2013, he received his Master of Fine Arts from Illinois State University (Teaching Degree). Moran also received specialised training at the Pilchuck Glass School, where he created wood and glass totem poles with David Svenson and Preston Singletary, and at the Haystack Mountain School of Craft, where he worked with mixed media and glass under the guidance of Jamex and Einar de la Torre.

In 2021, he completed his doctoral studies in philosophy at the Eugeniusz Geppert Academy of Art in Wroclaw, Poland, under the guidance of Professor Kazimeirz Pawlak. This academic experience has significantly influenced his work and deepened his exploration of themes such as identity, transience and the major social issues of our time. Titles such as American Idols and Paradise Lost reflect his critical reflection on cultural myths and the pursuit of perfection, while exhibitions such as Sacrilegious Septet and Beside the Golden Door address issues of faith and migration. Through his philosophical perspective, he links individual and collective experiences to encourage viewers to self-reflect and question their beliefs. In 2022, he won the third season of Blown Away, the Netflix show centred around glass art. Moran has exhibited his work in prestigious galleries and institutions in both Europe and the USA. In his career, Moran has realised numerous solo exhibitions in the USA and Europe. Most recently, he presented American Idols 2024 at STARWorks in North Carolina. In 2023, he showed Blown Away Experience at Habatat Galleries in Michigan and collaborated with Minhi Su England and John Sharvin on the exhibition Undefined at the Hodge Gallery of the Pittsburgh Glass Center.

In 2022, his solo exhibitions included Sacrilegious Septetat Not Grandma's Glass and We Are Blown Away at Habat Galleries. He also presented Beside the Golden Door as part of Blown Away in Hamilton, Ontario. Moran's exhibitions cover a wide range of themes and venues and demonstrate his continued evolution in the field of contemporary glass art. Highlights include On Solid Water 2019 at GlasMuseet Ebeltoft in Denmark and A Still Life 2017 at SiC! Gallery at the BWA Centre for Contemporary Art in Poland. In 2016, he showed Paradise Lost at the Augustinian Monastery in Ghent, Belgium, following his exhibition Youth_AnaSiA2015 at the S12 Gallery in Norway.

Early works such as American Idols at the Delaware Center for the Contemporary Arts in 2014 and I Came, I Saw, I Concurred 2013 in Belgium, as well as his MFA graduation exhibition back to school at Illinois State University, are evidence of his early creative explorations. Moran's work is represented in numerous private collections, as well as public collections including the Nevis Historical & Conservation Society, WheatonArts Museum of American Glass, Lommel Glazenhuis Museum, and the Morris Museum.

Julie Jordan was born in France, with roots in the south of Spain. She currently lives in Paris and draws her inspiration from the countless impressions and discoveries she gathers on her travels. She has been painting instinctively since the age of four and later honed her skills at the ESMA in Montpellier. A central theme of her work is the innovative use of materials, especially plastic. Even as a child, she experimented with plastic bags and cardboard to invent games. She disliked traditional toys as they lacked an extra dimension and instead used everyday objects to express her creativity. This childlike fascination with reinterpreting ordinary materials is still reflected in her work today.

Julie Jordan's creative process is essentially based on a vision of form linked to her emotions, fuelled by her daily life, the people she meets and the situations she experiences - life in all its essence. She finds the combination and remodelling of materials fascinating as it opens up endless possibilities and challenges established norms. In her works that fully integrate sculpture, Jordan strives first and foremost for a sensual experience through form. As the plastic is assembled and layered with colour, the forms seem to freeze and a moment is captured as if time has stopped at its perfect point. These works are created over several days, with the focus on perfect form on the one hand and perfect colour on the other. This is achieved through a sensitive interplay of transparency and the overlapping of colour and paint. For example, "Heart Blossom", a work that was presented at Spectrum Miami in December 2023, transforms the everyday material of plastic into an organic, living flower shape. The deep reds, burnt oranges and delicate greens symbolise the pulsating life of a beating heart, while the soft folds of the material are reminiscent of unfolding petals. With "Heart Blossom", Jordan invites us to reconsider our relationship with seemingly banal materials, while at the same time thematising the transience of beauty. Another work, "Aurora", revisits the theme of blossoming in an impressive way. Here, Jordan uses plastic materials in delicate shades of pink and purple, interspersed with golden accents, to create the illusion of a delicate, blooming flower.

The skilful layering and folding of the material creates an impressive three-dimensional depth and a play of light and transparency that conveys a poetic, almost ephemeral beauty. Through these works - and many others such as "SAVAGE", "ROCK", "Bay Storm", "Sense of Life" and "Alarm of Freedom" - Jordan creates art that is not only beautiful, but also profound and reflective. She has presented her work in exhibitions in Miami, London, Venice, Basel and other cities, encouraging viewers to reflect on the nature of beauty, materiality and transience. Her artistic vision is reflected in her creative process: "Especially in works such as 'Heart Blossom', 'Aurora' and 'SAVAGE', my search for the perfect combination of form, emotion and material becomes clear. In the solitude I choose for myself, I find the clarity to process the emotions of the world around me and transform them into my art." With this deep connection to material and emotion, Julie Jordan pushes the boundaries of what art can be. She allows us to look at everyday objects that she uses in new ways and shows that beauty lies in the transformation of materials and ideas.

Katrin Leuchtgelb is an Austrian artist known for her meticulously hand-painted works, which combine detailed, allegorical depictions of animals with bold, geometric backgrounds and exude an almost meditative precision through the masterful combination of ink and acrylic. Her art combines an impressive attention to detail with profound symbolism and is reminiscent of 19th century natural history illustrations that are both precise and narrative. At the same time, her works radiate a special elegance through bright colours and ornamental patterns, while the geometric backgrounds skilfully play with optical illusions and create a vibrant, almost hypnotic depth. Her visual language always remains original and unmistakable, as the animals at the centre of her works seem like creatures from another world - a mixture of surreal dream world and scientific precision.

Leuchtgelb's work explores themes of nature, geometry, life and death, and by placing animals in unfamiliar environments, she encourages reflection on the relationship between living beings and their surroundings. Her paintings celebrate the beauty of natural forms while emphasising the unexpected and playful, full of energy and vibrancy. An outstanding example of this is Constricto,a large-format depiction of a coiled snake framed by a geometric composition of vivid blue and yellow. The animalistic motif becomes almost sculptural, while the geometric pattern creates a restless tension that captures the viewer's gaze. This symbiosis between organic form and abstract background is characteristic of Leuchtgelb's works.

Her work has already been presented in several international exhibitions in Vienna, Berlin and Amsterdam, and her recent and upcoming highlights include a solo exhibition at the Ernst Fuchs Museum in Vienna in 2024 and an artist residency at the NDSM Art City in Amsterdam, also in 2024. Previously, she was a resident artist at the Fondation Jetty in Amsterdam and the KHB Studios in Berlin, among others. Katrin Leuchtgelb's work is a lively homage to the connection between life and art, geometry and nature, chaos and structure. She lives and works in Vienna, Austria.

Lina Petravičiūtėknown by her stage name Ringo1986, is a Lithuanian artist living in Lucerne, Switzerland. Her artistic journey took a very strong turn when she suddenly lost her brother in November 2022. This painful turning point initiated an intense exploration of the themes of grief, trauma and pain. Since then, her art has been a courageous and unsparing reflection on dealing with loss, wrestling with one's demons and the power that lies in healing. Ringo1986's style is expressive, powerful and multi-layered.

Her works take up the aesthetics of neo-expressionism, with clear echoes of artists such as Jean-Michel Basquiat or Cy Twombly. But what makes her works truly unique is the combination of rawness and intimacy. Her paintings are dominated by strong colours such as blue, red, yellow and black, which are arranged in dynamic contrasts and reflect the artist's emotional state. These colours are often complemented by layers of lines, scratches and graphic symbols that represent the chaos and complexity of the inner emotional world. Her works are characterised by a mixture of spontaneous lines and intense texture. She uses layers of colour that are applied, exposed and partially removed to create depth and dimension. The works often look like torn-open diary pages that give the viewer a direct insight into her vulnerable soul. She combines figurative and abstract elements: mask-like faces, stylised skeletal figures and fragmented body parts appear again and again. These symbols embody pain, fragility and the attempt to overcome inner demons. Ringo1986 does not see grief as something to be repressed, but as a transformative force. Her works are a call to face the pain and find the strength to return to life.

In her work it becomes clear that art is not only a means of expression, but can also be a form of healing and self-empowerment. Ringo1986 reminds us that life is not about avoiding pain, but about finding the courage to get up again. As she herself says: "It's not about how we grieve, it's about how we choose to live again." With several exhibitions in various cities and over 130 works on display, including paintings and installations, she has established herself as an impressive voice in contemporary art. Of particular note is her solo exhibition in Zurich, "One Year of Grief Representation", which showcased her intense exploration of the stages of grief. With her impressive artistic development and authentic message, Ringo1986 has already reached many people and shows how powerful art can be when it comes straight from the heart.

Luciana Grandi is a German-Brazilian artist whose work oscillates between expressive figuration and emotion. Her artistic journey has taken her beyond Rosenheim to international exhibitions in Europe and the USA. Grandi's powerful paintings blend intense colours, physical gestures and moving compositions. Her works radiate a physical energy in which human emotions, social themes and aesthetic sensibility find dense visual expression.

This is particularly impressive in her dance series "Noch einen Tanz" and "Special Sessions", in which she depicts bodies in ecstatic movement, frozen in moments of rhythm, intoxication and inner tension. These paintings celebrate the vitality of the body, the expression of the soul and the poetry of movement. Grandi's style is characterised by bold brushstrokes, bright contrasts and an intuitive choice of colour, often combining red, green, blue and violet. The bodies appear almost sculptural, as if they were modelled from paint itself, formed by rough, impulsive strokes and thickly applied layers of paint applied to the canvas both with a brush and with bare hands.

Her painting style carries a powerful physical presence, palpable in every agitated application of colour, as if the entire creative process were an act of direct, physical engagement with the material. Her figures appear tense and vulnerable at the same time, captured in scenes that tell of intimacy, strength and connection. Another central component of her work is the "Favela Lights" series, in which she portrays life in Brazilian neighbourhoods with empathy, depth and a sense of beauty that goes beyond clichés. Scenes of everyday life, encounters on the pavement, conversations and simple rituals are translated into vibrant colours and geometric compositions. Grandi has taken part in renowned exhibitions in Paris, New York, Miami, Luxembourg, Helsinki, Le Mans, Salzburg, Venice and Munich.

Margarethe von Billow ist eine zeitgenössische Künstlerin, deren Werk das Zusammenspiel von Licht, Schatten und Emotion durch Farbe, Form und Textur erforscht.

Ihre künstlerische Praxis basiert auf einer klassischen Ausbildung, die sie kontinuierlich durch Experimente mit vielfältigen Materialien und Techniken erweitert hat.

Ihr Œuvre umfasst sowohl figurative als auch abstrakte Kompositionen, die ihre Faszination für Kontraste widerspiegeln – zwischen Klarheit und Mehrdeutigkeit, Bewegung und Stillstand, Struktur und Intuition. Jedes Werk lädt die Betrachtenden zu einem Dialog zwischen Wahrnehmung und innerer Resonanz ein.

In ihrem jüngsten Werkzyklus verbindet Margarethe von Billow expressionistische Abstraktion mit Elementen der urbanen Pop Art und kultureller Symbolik. Leuchtende Farbfelder interagieren mit Silhouetten ikonischer Figuren und Stadtsilhouetten und erzeugen eine dynamische Spannung zwischen Individualität und kollektiver Erinnerung. Arbeiten wie Liberty oder Elvis stellen wiedererkennbare Bildmotive gestischen, vielschichtigen Farbschichten gegenüber und verwandeln Symbole von Freiheit, Ruhm und urbanem Leben in emotionale Landschaften.

Ihre abstrakten Werke hingegen folgen einem intuitiveren, fast musikalischen Rhythmus: kraftvolle Gesten, Spritzer und Farbverläufe übersetzen innere Zustände in Bewegung. Die Kompositionen erinnern an den Puls einer Stadt, den Widerhall von Klängen oder die Fluidität des Lichts – ein beinahe synästhetisches Erlebnis, bei dem sich Sehen und Emotion verbinden.

Im Laufe der Jahre hat Margarethe von Billow mehrere charakteristische Konzepte entwickelt, darunter Wineart, das bildende Kunst und Önologie vereint, sowie LifeArt, eine Serie, die die Dualität von Licht und Schatten als Metaphern für die Existenz untersucht. Ihre Farbkompositionen sind geprägt von expressionistischer Intensität und emotionaler Tiefe und übersetzen Musik und Rhythmus in visuelle Form.

Ihre Werke wurden international ausgestellt, und ihre künstlerische Vision entwickelt sich stetig weiter, getragen von einer tiefen, menschlichen Verbundenheit in jeder Komposition.

Maria Constantina Cascio is a British artist with Italian roots whose creative vision is deeply influenced by Italy's rich artistic tradition. She has been drawn to the power of colour since childhood and painting has become her emotional retreat and means of expression. Her works are based on the conviction that art not only conveys aesthetic beauty, but can also have a positive influence on our inner balance and well-being. She is particularly fascinated by the therapeutic effect of colours.

Cascio creates colour-intensive abstract compositions that evoke a deep emotional resonance through gentle flow techniques, translucent layering and harmonious colour transitions. Her works are in the realm of lyrical abstraction and colour field painting, with colour itself becoming the protagonist. Her works open up imaginary spaces that invite the viewer to explore inner themes such as transformation, peace, spiritual expansion and healing. Viewers can immerse themselves in a silent inner world, ask questions of themselves and discover new perspectives. Today, this knowledge is consciously incorporated into her works: Each colour choice is made with the aim of not only creating aesthetic beauty, but also promoting emotional balance, inspiration and reflection. Some of her works also address social issues and use colour in a targeted way to convey messages in a powerful and touching way.

Maria Constantina Cascio creates abstract pictorial worlds that are characterised by gentle layering, flowing transitions and an intuitive, powerful choice of colours. Her works are like inner landscapes that invite contemplation and open up emotional spaces. Her abstract paintings are characterised by a harmonious balance of light, structure and colour. Cascio creates atmospheric spaces full of movement and stillness through dynamic brushstrokes and the targeted use of colour harmonies. Each work unfolds its own energetic presence and invites the viewer on a journey to themselves. She has devoted herself passionately to painting and has exhibited her works in renowned galleries in London, Milan, Genoa, Florence, Turin, South America and the USA. Her exhibitions at Artexpo NYC 2025, the Palazzo Ducale in Genoa, the Galleria Cael in Milan and the Espacio Gallery in London's Shoreditch district are particularly noteworthy.

Meiry Lucy is a contemporary artist from Brazil who has dedicated herself to art since childhood. Her artistic career took a significant turn in 2015 when she was invited to exhibit one of her works at the Sociedade Brasileira de Belas Artes. There she was honoured with a silver medal at the 3rd Salão Carioca de Arte Contemporânea. Since then, she has received numerous other awards, including silver medals at the Salão de Arte Sacra and the 50th Salão de Maio in 2016.

Her work was also honoured with a gold medal at the Salão Rio Olímpico e Paraolímpico 2016 and a grand silver medal at the Salão Carioca de Arte Contemporânea 2017. Her works address central themes such as climate change, the protection of the rainforest and the desire for peace. Titles such as "Aquecimento Global" highlight the urgency of climate change, while "Amazonia" draws attention to the threat to the Amazon rainforest and emphasises its beauty and vulnerability. Works such as "Paz" reflect the call for global harmony and peaceful coexistence. In "Floresta em Chamas", she impressively thematises the devastating forest fires that are intensified by human activity.

Meiry Lucy uses bold colours and dynamic structures to depict the destructive impact of environmental degradation and emphasise the importance of nature conservation. Works such as "Terra Yanomami" remind us to respect the rights and way of life of indigenous peoples whose survival is closely linked to the protection of the rainforest. Her works are more than just abstract representations; they call for a respectful approach to nature and call for responsibility for the future of our planet. In addition to exhibitions in Brazil, Meiry Lucy has also gained international recognition. In 2020, she took part in the Contemporary Art Fair in Luxembourg, where she was once again honoured with a silver medal. In 2023, she was represented in Paris, where she took part in an exhibition as part of the publication of the book "Vivemos Arte". Her works are now part of private collections in countries such as Dubai, Switzerland, France, the USA, the UK, Portugal and Norway. This international presence emphasises the importance of her messages, which reach far beyond Brazil's borders.

Mr Flamingo, an artist, illustrator and comic creator from Vienna, Austria, brings a unique vision to the world of contemporary art. He graduated from the University of Applied Arts in Vienna in 2017 and honed his craft under the guidance of renowned artists such as Wolfgang Marx and Hansel Sato. With a passion for comic and fantasy art, Flamingo works exclusively in analogue, using traditional ink on paper to create vivid and complex worlds. His latest project includes a published comic for the internationally acclaimed band Cari Cari, further cementing his place in the art scene. Flamingo's work has been exhibited in prestigious cities such as Athens, Tokyo and Vienna.

His nomadic spirit takes him from Japan and Italy to Thailand and the USA, always in search of new influences that he can integrate into his art. Each destination provides fresh inspiration that pushes the boundaries of his creative expression. A lifelong lover of comics, Flamingo draws inspiration from icons such as Andreas Martens, Will Eisner, Bernie Wrightson, Frank Miller and Eduardo Risso. Growing up surrounded by his father's extensive comic collection, he was fascinated by dark, hard-boiled themes from an early age - a fascination that still characterises his work today. In addition to comics, the influence of fantasy legends such as Frank Frazetta is also evident, as he creates worlds in which the impossible becomes reality: Knights and pirates in space, surreal landscapes that merge past and future.

But Flamingo's influences are not limited to comics and fantasy. Cinema and literature play an equally important role in shaping his style. Films such as Akira, Ghost in the Shell, Blade Runner, Running Man and series such as Batman: The Animated Series or Miami Vice offer a rich network of visual and thematic influences. Murakami's surreal novels contribute to the dream-like, almost hypnotic atmosphere in Flamingo's works, in which reality is constantly in flux. Flamingo effortlessly combines surrealism with the raw aesthetics of hard-boiled detective stories. Everyday scenes are interrupted by mysterious, often inexplicable phenomena, transporting the viewer into worlds where magical realism and surrealism blur the boundaries between reality and fantasy. His works transport us to a world that seems both familiar and strange - a future that could have existed in the past, or a neon-lit dystopia lurking beneath the surface of reality. His dark, complex visions are reminiscent of the noir style of Raymond Chandler, set against a Blade Runner-esque backdrop. With his clean, high-contrast black and white style, Flamingo heightens the tension in his scenes, using thick lines and sharp contrasts to evoke the raw energy of classic noir comics and dystopian graphic novels. His compositions are meticulously detailed, creating a rich tapestry of fragmented, interconnected worlds that challenge the viewer's perception. Flamingo's works are not just a visual feast, but tell a broader story about human existence in an increasingly urbanised, technology-driven society.

His art opens a window into a melancholic, mysterious realm and invites us to go beyond the boundaries of reality and explore the subconscious. With each work, Flamingo draws us deeper into a space where fantasy and reality collide, and the future is as disturbing as it is beautiful.

Nataliia Krykun is a Ukrainian multidisciplinary artist whose artistic development was significantly influenced by the University of Art and Industrial Design in Linz, Austria. Her work is characterised by a powerful and expressive use of colour, and her artistic development is strongly influenced by an intensive exploration of minimalism and vivid abstract expressionism. Krykun's works are characterised by a dynamic interplay of chaos and control, a theme brought to life by her use of striking colours and flowing forms. This delicate dance between order and disorder not only defines her art, but also reflects her personal exploration of inner turmoil and expansive thoughts.

Her artistic vision comes to life on the canvas, where pigments collide, mix and harmonise. Krykun is strongly inspired by the iconic drip painting technique made famous by Jackson Pollock. However, she has reinterpreted and personalised this method, establishing her own unique approach to abstract expressionism. Her process involves the generous application of colour, allowing gravity and movement to determine the final outcome. This method allows her to transform spontaneity into deliberate art making, making the accidental appear intentional. Each piece is a testament to her ability to tame the unpredictable and create works that are both chaotic and harmonious. This allows gravity to guide the paint as it flows down, splashes and gathers, forming layers of memories and stories. Nataliia Krykun's works are a kaleidoscope of hues, a symphony of vibrant colours that know no boundaries. Each brushstroke is both intentional and spontaneous, guided by the colours themselves. In her abstraction lies the freedom to explore, experiment and transcend.

Her art allows you to immerse yourself in a realm of infinite possibilities and engage in a dialogue between chaos and order, intuition and intention. Her notable series include "The Kiss," known for its minimalist yet profound approach, and her vibrant abstract works such as "Your Symphony" and "Infinite Flight." Viewers of her works can experience a continuous movement and emotional depth that Krykun evokes. Throughout her career, Krykun has participated in numerous international exhibitions and art fairs worldwide. A highlight of her career was exhibiting her work at the Biennale di Venezia, where she represented Ukraine at the 58th International Art Exhibition. Her artworks can be found in private and corporate collections around the world, including the USA, the European Union, Switzerland, the United Kingdom, Ukraine, Japan and the United Arab Emirates.

Nkwaye Ansah gehört zu jener seltenen Künstlergeneration, deren Werk aus einer tief verwurzelten kulturellen Erinnerung heraus entsteht und zugleich mit der Gegenwart in einen vielschichtigen Dialog tritt. Seine künstlerische Entwicklung begann nicht in akademischen Ateliers, sondern in den vibrierenden Räumen grafischer Werkstätten, in denen Präzision, Beobachtung und Handarbeit seinen Blick schulten. Früh erprobte er den Umgang mit Linien, Strukturen und Kompositionen; was zunächst als technische Genauigkeit erschien, entfaltete sich über die Jahre zu einer Bildsprache, die für seine heutige Kunst charakteristisch ist.

Ansah bewegt sich zwischen Figuration und surrealen Ebenen, zwischen körperlicher Präsenz und poetischer Verdichtung. Seine Porträts wirken wie vertraute Erscheinungen, die zugleich einer anderen Sphäre entstammen. Gesichter und Figuren scheinen aus Schichten von Erinnerung, Mythos und persönlicher Wahrnehmung hervorzutreten. Das Wasser der Aquarelle fließt über die Motive wie ein atmender Hintergrund, während feine, punktierte Strukturen seiner Zeichnungen wie gewebte Texturen über die Haut der dargestellten Menschen liegen.

Im Zentrum seines Interesses steht der Mensch – jedoch nicht als neutraler Körper, sondern als Träger von Geschichten, Identitäten, Verletzlichkeit und Würde. Ansahs Figuren erscheinen oft wie in der Schwebe, zeit- und ortlos, gefangen in Momenten intensiver innerer Erfahrung. Manche Szenen wirken wie Fragmente eines größeren Narrativs, dessen Ursprung verborgen bleibt. Der Künstler verweigert eindeutige Deutungen; seine Werke öffnen Räume, in denen Betrachtende eigene Lesarten entwickeln können.

Seine Bildkompositionen erinnern an visuelle Montagen: Realistische Porträts treffen auf symbolische Elemente, organische Formen auf ornamentale Muster, und aus dieser Spannung entsteht eine bemerkenswerte emotionale Tiefe. Es ist, als würden Vergangenheit und Gegenwart miteinander sprechen – und der Betrachter wird Zeuge eines leisen, aber eindringlichen Dialogs zwischen Tradition, Spiritualität und moderner Identität.

Über Jahre hinweg entwickelte Ansah eine Praxis, die sich stetig wandelte und gleichzeitig eine unverwechselbare Handschrift bewahrte. Seine Werke sind geprägt von empfindsamer Beobachtung und einer beinahe meditativen Präzision. Die Kombination aus Aquarell und feiner Zeichnung erzeugt eine fragile, doch kraftvolle Präsenz. Viele seiner Figuren tragen Spuren gelebten Lebens, eingefangen in Blicken, die zwischen Stolz, Melancholie und Geheimnis changieren.

In den vergangenen Jahren hat Ansah seine künstlerische Vision kontinuierlich erweitert. Seine Arbeiten wurden in Ausstellungen im In- und Ausland gezeigt und fanden besondere Aufmerksamkeit durch ihre Verbindung von kulturellem Erbe und zeitgenössischer Bildästhetik. Einige großformatige Werke wurden für bedeutende institutionelle Räume geschaffen und unterstreichen seine Position als Künstler, dessen Werk nicht nur ästhetisch, sondern auch gesellschaftlich resonant ist.

Heute zählt Nkwaye Ansah zu den markanten Stimmen einer modernen afrikanischen Porträt- und Erzählkunst. Seine Arbeiten formen ein eigenständiges visuelles Vokabular, das zugleich zart und monumental wirkt – getragen von einem tiefen Bewusstsein für Geschichte, Menschlichkeit und die Kraft des Bildes. In seinen Gemälden und Zeichnungen begegnen sich Stärke und Verletzlichkeit, Stille und Intensität, Realität und Vision.

Ansahs Kunst ist keine abgeschlossene Erzählung. Sie ist ein fortdauerndes Fragen, ein Beobachten, ein Verdichten – ein stetiges Ringen mit dem Sichtbaren und dem Unsichtbaren. Und gerade aus dieser Offenheit entsteht die besondere Energie seines Werks, die Betrachtende immer wieder aufs Neue berührt.

Pico J. is a figurative painter from the Caribbean who currently lives in Switzerland. With an academic training in the teaching of Hispanic American literature, civilisation and art, Pico J. brings a deep cultural and intellectual understanding to his works. This academic experience allows him to weave cultural and intellectual narratives into his creations, enhancing the emotional and spiritual depth of his work. His artistic journey began with an intense study of Picasso's Cubism, which inspired him to delve deeper into deconstructed figurative art in 3D.

However, Pico J. believes that his true interest lies not in merely painting characters, but in capturing emotions, particularly through the gaze, which exudes a deep, human empathy. The gaze is the central element of his works, as it has the potential to convey raw emotion and create a direct connection with the viewer. In his works, he merges the boundaries of painting, sculpture and installation and challenges the classic categories of contemporary art. Pico J.'s works are not only visual representations, but also transformations of materials that are doomed to decay. He uses recycled materials such as paper and cardboard, which he transforms into three-dimensional reliefs. These reliefs are treated with environmentally friendly resin, giving them exceptional durability and complexity. The materials themselves become carriers of new life, representing a symbolic action of resilience and survival in a volatile world.

Another notable feature of his work is the integration of living elements such as plants. Some of these plants remain in the artworks for months or longer, causing the artwork to continuously change and providing a dynamic, evolving experience for the viewer. Through this integration of nature and art, the artist challenges the traditional boundaries of art and creates a multidimensional, sensory experience. In his work "Chained by Reflection", the theme of inner captivity and self-reflection is taken up, intensified by the depiction of a seemingly chained character. The formal language in "Contemplation of Républic Platon" can be linked to the philosophical debate of antiquity, while "Freedom by Yourself" thematises the pursuit of liberation and self-determination. "Gendera" shows the complexity of identity and gender by questioning the traditional forms of representation of figures and achieving a deeper emotional readability. "Insomnia" and "Le Temps d'un Duc" reveal an intense exploration of existential themes such as insomnia and the perception of time, which are visualised in the distorted, fragmented figures and vivid colours. G. Pico J. is an artist who works with a unique, interdisciplinary approach to art. For him, art becomes a powerful, transformative experience that changes the viewer not only in their perception, but also in their relationship to the environment and to time.

Roswitha Heidrich is a German visual artist from Baden-Württemberg whose abstract art style is characterised by free forms, intense colour fields and dynamic brushstrokes. Her work follows Abstract Expressionism, which emphasises the individual signature and intensity of artistic expression. Expressive brushstrokes, palette knife techniques and an intense colour palette are particularly striking. In the style of Mark Rothko, known for his luminous colour fields that have a strong emotional impact, Heidrich uses colour as his primary means of expression. Heidrich's emphasis on surface and layering of colour is also reminiscent of Rothko's approach. The intensity and focus on colour as a medium to convey emotions and moods share a similar spirit with Rothko's works.

The expressive nature of the paintings, with their bold strokes and abstract shapes, gives them a dynamic and energising quality that can captivate and inspire viewers. The focus on the visual impact of colour combinations, textures and compositions, rather than depicting realistic scenes, conveys the unique emotions and atmospheres of each painting. This invites a sensory journey where viewers are enveloped in vibrant and joyful colours that lift their spirits and fill the space with positivity. The artist uses a palette that is as diverse and dynamic as life itself. Inspired by the colours she encounters in everyday life, she creates colour concepts that represent an immediate, intuitive response to the world around her. The use of yellow and blue creates an atmosphere that is both vibrant and calming, achieving a perfect balance between energy and tranquillity. The combination of pink and red tones, mixed with shades of blue, green and yellow, evokes a powerful and almost spring-like vibrancy. An intense blue, reminiscent of a mighty ocean landscape, combined with a peaceful sky in soft orange tones, transports us to a world of contrasts where the strength of the sea meets the tranquillity of the sky. Orange tones rising above a calm pink and white suggest a sunset scene where day fades into a tranquil night. This combination suggests a sense of farewell that is both beautiful and melancholic. Pink and dark green present a striking dichotomy that exudes calm and a sense of balance. A calming combination of blue tones, separated by a white stripe from a deep dark blue that forms the base, evokes a contemplative mood.

Overall, Heidrich's colour compositions open a window to our innermost feelings and invite us to explore the depths of our own being, offering us a moment of peace and reflection in our often hectic world. With numerous exhibitions in Germany (Bremen, Hamburg, Bonn, Munich) and internationally, Heidrich has presented her works to a wide audience. The musical interpretation of her work "HOPE" by the composer Margin Alexander, which was presented at an event, emphasises the resonance that her pictures find in people's hearts. Her exhibitions are not just showcases for her art, but become meeting places for those who seek and appreciate the transformative power of colour. Roswitha Heidrich stands for art that touches, revitalises and inevitably enriches the soul.

Sandrine Guerrier is a French artist whose passion for art has accompanied her since childhood. Growing up in Lorraine, she began drawing at an early age and discovered her love of painting long before she learnt to write. Sandrine's artistic output is unique as she combines her love of architecture and retro style with surrealist compositions and personal elements. Her works often include characters that she either loves or that evoke memories of her childhood, creating a very personal connection between the artwork and the viewer.

Her journey as an artist took a decisive turn when, during a first visit to California, she developed an inexplicable fascination with Palm Springs and its unique style. This led to a deep admiration for Mid Century Modern, known for its innovation, inspiration and unrivalled beauty. Sandrine's work reflects this passion by capturing on her canvases the reality of this environment, the atmosphere and the extraordinary designs of Palm Springs. Her works combine the iconic architecture and characteristic colours and lights of Mid Century Modern with a realistic painting style infused with vibrant, saturated tones and nostalgic elements. She has a great admiration for Salvador Dalí and Edward Hopper in particular.

In her paintings, Sandrine combines a powerful, contemporary aesthetic with nostalgic echoes of retro elements and pop culture references. Her works are characterised by a special blend of bold, vibrant colours and surrealistic compositions that transport the viewer into an imaginative, almost dreamlike world. In her latest works, Sandrine takes up the theme of futuristic retro style, as in her painting of an ascending Astro-Boy flying in modern space. This blend of futuristic vision and retro design, united in a modern interior, reflects Sandrine's ability to connect different eras and build an imaginative bridge between past and future. Sandrine creates a special world and allows the viewer to develop their own vision - a world that combines the beauty of nature and the depth of the human imagination. Her works, such as the depiction of Palm Springs with its modern, geometric style and vibrant colours, draw the viewer into an imaginative, almost dreamlike world.

Her international success is reflected in numerous solo and group exhibitions, which have taken place in cities such as Miami, Luxembourg, Paris, Los Angeles and soon also in Barcelona and London. Today, Sandrine's paintings are not only a sign of her artistic talent, but also a reflection of her unique ability to combine reality and fantasy.

Silvio Luz Ferraza Brazilian sculptor, embodies the technical precision of an engineer, the spirit of an artist and the heart of a nature lover. His transformative experience in Chicago, where he explored the urban landscape characterised by Frank Lloyd Wright's signature Prairie style - a style established in 1893 that reflects a deep connection between buildings and the surrounding landscape - sparked a new source of inspiration in him. Luz Ferraz's deep admiration for Wright's seamless integration of nature and art significantly influenced his creative direction and craft. In a similar way to Wright, whose style was characterised by the philosophy of organic architecture and emphasised the harmony between man-made buildings and the natural environment, Luz Ferraz develops his extraordinary sculptures.

He utilises natural wood scraps of different species, with each of his works having a unique shape, with breaches or voids that create an intriguing visual permeability. He respects the transformative work of nature in his art, allowing for changes caused by animal activity, decomposition and integration, resulting in complex, complete artworks that are unique, natural and inspiring. Each of Ferraz's works is firmly rooted in the natural characteristics and forms of the material used, an approach known as nature art, as it highlights the inherent beauty of wood and often uses the irregular characteristics found in nature, such as uneven surfaces, textures and natural colour variations. The surfaces of these sculptures always show a variety of textures, from smoothly polished to rough and natural. The shapes are sometimes reminiscent of organic structures and sometimes abstract, which are thought-provoking and allow for different interpretations. This diversity demonstrates the artist's talent for constant reinvention and invites contemplation.

The style is also reminiscent of modernism, particularly in its abstract forms, which allow for free interpretation and encourage viewers to look at the works from different perspectives. The irregularities and indentations are also emblematic of the wabi-sabi concept, a Japanese aesthetic that values the beauty of imperfection, transience and incompleteness. Luz Ferraz presents his artworks as an opportunity to experience this transformation and invites us to share this journey with nature.

Sof is a French-born artist whose creative journey began with studies in art and design at the Upper Secondary School in Arts and Design, the High School of Plastic Arts and the High School of Architecture in France. Early on, she developed a passion for pixels and a fascination for the ancient art of mosaics. This enthusiasm still characterises her work today and runs like a common thread through her artistic development, which has spanned over two decades.

After a successful career as an art director in France, Sof took the step of leaving her safe environment in Paris behind to devote herself entirely to the further development of her artistic concept in Berlin. Her art unites destruction and creation in a unique way. She transforms materials characterised by their history into new, interactive tesserae - the essential components of a mosaic. Light, magnetism and matter are the central elements in Sof's work, forming a synergetic system and challenging traditional notions of permanence. This creates an open dialogue with the audience, who are invited to physically move and reconfigure the tesserae. This interactivity expands the creative process and allows each work to become an artwork that is constantly evolving and never finalised. Sof's work explores the three fundamental elements of the mosaic - substrate, tesserae and binder - and relates them to space, matter and time. In her works, light takes on the role of substrate, magnetism becomes the binder, and materials such as steel, concrete, clay and chrome serve as tesserae. The deliberate integration of traces of destruction and transformation gives her works a special depth and meaning. The audience is invited to reflect on the stories and history of the materials used. A central series of her works is ARTHE, which celebrates the earth as the origin of life.

The fragility and durability of the ceramic elements reflect the inexhaustible diversity and resilience of the planet. The SAWLL series, on the other hand, uses materials from demolition sites in Berlin to thematise the transience of buildings and their connection to human history. With GEO, Sof explores themes such as reflection and vulnerability, with chrome and aluminium symbolising the reciprocal influences between humans and the environment. Sof's work has been presented at prestigious design events, including Dutch Design Week in October 2023 and Dubai Design Week in November 2023, and she has also been longlisted for the Aesthetica Art Prize 2024.

Susanne Meier zu Eissen-Rau erwarb ihr Diplom 1992 an der Kunstakademie Münster und begann eine beeindruckende und lange Karriere in der bildenden Kunst. Ihre kreative Odyssee hat die deutsche Kunstszene durchquert, wo sie ihre Vision in einer Vielzahl von Ausstellungsräumen, von traditionellen Galerien bis hin zu alternativen Kunststätten, präsentiert hat. Susanne Meier zu Eissen-Rau ist eine Künstlerin, die im Spiel der Abstraktion brilliert, auf der Leinwand mit kühnen Strichen und einem Kaleidoskop von Farben tanzt. Sie ist eine Alchemistin der modernen Kunst, eine Entdeckerin im Reich der Farben und Formen. In einigen Werken von Susanne Meier zu Eissen-Rau wird das Erbe der Vergangenheit getragen – in die Fasern des Buchbindeleinens eingewoben, dem traditionellen Stoff alter Bibeln.

Mit jedem Pinselstrich erweckt sie dieses historische Material zum Leben und verleiht ihm eine moderne Stimme. Ihre Leinwände sind stille Zeugen der Geschichte, die in den Falten ihrer Texturen lebt, nicht nur Träger von Farbe. Meier zu Eissen-Raus Hingabe zu den Ursprüngen ihrer Materialien ist ein Balanceakt, der das Ehrwürdige mit dem Innovativen verbindet. Ihre Gemälde sind moderne Reliquien, die eine tiefe Wertschätzung für das Erbe und den Kontext jedes Fadens, der durch ihre Werke läuft, offenbaren. Sie lädt den Betrachter ein, nicht nur den visuellen Glanz ihrer Werke zu erleben, sondern auch die reiche Geschichte und Seele der Leinwand selbst zu fühlen. Das Experimentieren mit Materialien erweitert sich, wenn Susanne beginnt, mit der Technik „Sand auf Nessel“ zu arbeiten. Nessel, auch als Panama bekannt, ist eine Art Leinwandstoff, der mit Sand als Texturmittel versehen wird, um dem Gemälde eine dreidimensionale oder taktile Qualität zu verleihen. Diese Technik kann die physische Präsenz des Kunstwerks verstärken und dem Betrachter eine zusätzliche visuelle und taktile Komponente bieten, wodurch die sinnliche Wirkung ihrer Werke weiter verstärkt wird. Eine unverkennbare Signatur, gekennzeichnet durch ihr Experimentieren mit Harz, Öl und Acryl, ist zu beobachten. Lebendige Szenarien entfalten sich – von der organischen Form einer Birne bis zur abstrakten Komplexität in „13 Plates For Supper“. Dynamische Kompositionen mit starken Kontrasten zwischen dunklen und hellen Tönen sowie dominierenden Blautönen suggerieren Bewegung und schaffen den Eindruck von Flüssigkeit oder Licht. Eine kühle Palette mit Blau- und Beigetönen, organischen Linien und Formen evoziert Verbindungen zu Wasser oder geografischen Elementen.

Ein collageartiges Arrangement von Formen und Texturen, das trotz der Abstraktion ein gewisses Maß an Gleichgewicht und Komposition beibehält, mit Farben, die Spannung und Kontrast erzeugen. Jedes Stück ist ein Fenster in eine Welt, in der die Grenzen der Wahrnehmung erweitert werden. Susannes Kunstwerke zeigen eine starke Neigung zur experimentellen Verwendung von Farbe, Material und Form. Sie erkundet verschiedene Materialien und Techniken, von fließenden, dynamischen Kompositionen bis hin zu kontrollierteren, fast grafischen Anordnungen. Ihre Werke zeugen von einem intensiven Engagement mit den Möglichkeiten der Malerei, überschreiten die Grenzen der Darstellung und fordern den Betrachter heraus, über traditionelle Bildinhalte hinauszudenken. Die Elemente von Struktur, Farbe und Form werden oft als eigenständige Themen verwendet. Sammler und Kunstliebhaber aus verschiedenen Teilen der Welt haben Kunstwerke von Meier zu Eissen-Rau für ihre Sammlungen erworben. Susanne Meier zu Eissen-Rau sprengt die Grenzen der konventionellen Kunstpräsentation. Sie erforscht Ausdrucksformen und präsentiert jedes Kunstwerk mit Sorgfalt und strategischer Vision. Eine Hommage an das Alte oder das Neue, durch das Prisma der zeitgenössischen Abstraktion neu interpretiert, findet sich in ihren Kunstwerken. Sie bietet ein Erlebnis, eine Reise, ein Abenteuer. Entdecken Sie die Dimensionen von Tradition und Innovation in den Kunstwerken von Meier zu Eissen-Rau.

Tanja Willekens ist eine belgische Luftbildfotografin, die die Erde aus einer einzigartigen Perspektive festhält. Geboren in Wilrijk, schloss sie ihr Fotografie-Studium 2014 an der Royal Academy of Fine Arts in Antwerpen ab. Ihre intensiven Reisen, kombiniert mit sozialen Fotografieprojekten in Ländern wie Äthiopien, Indien und Peru, prägten ihre Sichtweise auf die Welt und weckten in ihr das Bedürfnis, die unbeschreibliche Schönheit der Erde mit anderen zu teilen. Als Luftbildfotografin verwandelt Tanja verschiedene Landschaften durch einen grafischen Zugang zur Realität in abstrakte Kunstwerke.

Ihre Fotografien spielen mit der Abstraktion und dem Unkenntlichmachen der Natur, was für sie in einer Welt, die von vorgekauten Informationen überschwemmt wird, von entscheidender Bedeutung ist. Diese Abstraktion ermöglicht es, die eigene Vorstellungskraft zu nutzen und die Bilder nach eigenen Maßstäben zu interpretieren. Es wird angeregt, den gewohnten Blickwinkel zu verlassen und in ihre Arbeiten einzutauchen, die eine neue und oft unerforschte Sicht auf die Welt bieten. Die Erde kann dadurch nicht nur aus unserer eigenen Perspektive, sondern aus einem Blickwinkel betrachtet werden, der uns normalerweise verschlossen bleibt. Sie zeigt uns eine Welt, die wir nicht selbst erfahren können, mit der Absicht, unsere Vorstellungskraft zu erweitern und unseren Horizont zu vergrößern.

Ein Zitat von Schopenhauer, das Tanja oft zitiert, fasst ihre Philosophie perfekt zusammen: „Jeder nimmt die Grenzen seiner eigenen Sicht für die Grenzen der Welt.“ Die Natur und ihre vielfältigen Formen sind der zentrale Bestandteil von Tanja Willekens’ Arbeiten. Ihre Landschaften entstehen aus der Kombination von organischen und geometrischen Mustern, die durch ihren besonderen fotografischen Ansatz zu grafischen Kunstwerken transformiert werden. Jede ihrer Arbeiten ist ein faszinierendes Spiel aus Licht, Schatten und Form, das es ermöglicht, die Bedeutung der natürlichen Elemente und deren Zusammenspiel zu hinterfragen. Tanja Willekens gelingt es, die Weite der Erde in einem Bild einzufangen und dabei ein Gefühl von Unendlichkeit und stiller Schönheit zu vermitteln. Ihre Luftaufnahmen von Wüstenlandschaften, Wasserläufen oder zerklüftetem Boden sind außergewöhnliche künstlerische Werke, die uns selbst über die Bedeutung von Abstraktion und Natur in der Kunst nachdenken lassen können.

Ulrike Pichl ist eine deutsche Fotografin und Dichterin, die mit ihrer Arbeit das Flüchtige sichtbar macht und der stillen Kraft des Alltäglichen Ausdruck verleiht. Geboren 1985 in Nürnberg, begann sie früh, Kunst und Sprache als Ausdrucksformen zu verknüpfen. Nach dem Studium des Kommunikationsdesigns an der FH Nürnberg, das sie 2010 mit einer Diplomarbeit in Fotografie abschloss, arbeitet sie als Designerin, Texterin und Künstlerin.

Ihre künstlerische Praxis ist geprägt von Licht, speziell Gegenlicht, Unschärfe und atmosphärischen Übergängen, die sie in Fotografien festhält und mit eigenen Gedichten verbindet. Diese Kombination von Bild und Wort schafft Resonanzräume, in denen Betrachter*innen eingeladen sind, das Gesehene nicht nur zu betrachten, sondern zu empfinden.

Die Werke von Ulrike Pichl entstehen häufig im unmittelbaren Umfeld – im Garten, beim Blick durch das Fenster oder während alltäglicher Wege durch die Natur. Dabei richtet sie ihren Blick bewusst auf das Unspektakuläre und überführt es in eine visuelle Poesie. Verschwommenes, flirrendes Licht, fließende Farbschleier oder Schatten in Bewegung sind zentrale Motive, die ihre Fotografien durchziehen. In der Begleitung durch kurze Texte und Gedichte eröffnen die Arbeiten zusätzliche Bedeutungsebenen, ohne das Sichtbare zu erklären. Vielmehr entstehen Korrespondenzen zwischen Bild und Sprache, die sich gegenseitig verdichten und ein Gefühl von Stille, Intimität, Melancholie und Achtsamkeit erzeugen.

Zugleich spiegeln Pichls Werke persönliche Erfahrungen von Krankheit und Begrenzung wider, die den Blick auf das Nahe und Kleine geschärft haben. Aus dieser Perspektive entsteht eine Kunst, die das Verborgene würdigt, Schwäche als Teil der menschlichen Existenz akzeptiert und daraus eine stille, fragile Schönheit entwickelt. Ihre Arbeiten oszillieren zwischen Sichtbarkeit und Verschwinden, zwischen Nähe und Distanz, und eröffnen Räume, in denen Betrachter*innen ihre eigenen Empfindungen mit den Bildern verweben können.

Ihre aufstrebende künstlerische Laufbahn wurde in den letzten Jahren durch Auszeichnungen und Features gewürdigt. So wurde sie u.a.  2025 in die Auswahl der „100 Emerging Artists“ aufgenommen, in zwei Künstlerbüchern veröffentlicht, erhielt Honorable Mentions bei internationalen Fotowettbewerben wie den „Annual Photography Awards“ oder Nominierungen beim Fine Art Photography Award, ihre Arbeiten fanden Veröffentlichung auf Plattformen wie LensCulture und ArtDoc Magazine. Seit 2023 sind ihre Werke regelmäßig in Ausstellungen zu sehen, sowohl in Deutschland als auch international, darunter Kooperationen mit Galerien. Seit 2025 ist sie außerdem Mitglied der GEDOK Franken und des Kulturvereins edelextra.

Für Ulrike Pichl ist Kunst ein Mittel, das Flüchtige festzuhalten, Momente der Achtsamkeit gegenüber sich selbst und der Natur zu erschaffen. Ihre Fotografien und Texte laden dazu ein, innezuhalten und das Alltägliche mit neuen Augen zu betrachten – nicht als Nebensächlichkeit, sondern als Quelle von Tiefe, Poesie und innerer Wahrheit.

Vilmalotta Olivia Schafhauser studierte Malerei an der Akademie der Bildenden Künste in Helsinki, wo sie zunächst ihren Bachelor und anschließend im Jahr 2002 den Master of Fine Arts erwarb. Ihre künstlerische Laufbahn begann früh und vielversprechend. Noch im Jahr ihres Abschlusses wurde sie mit einem Winterstipendium des renommierten Art Center Salmela ausgezeichnet und bereits ein Jahr später zur „Jungen Künstlerin des Jahres“ gewählt.

Diese frühe Anerkennung legte den Grundstein für eine kontinuierliche und international wahrgenommene Karriere, die sie weit über die Grenzen Finnlands hinausgeführt hat. Im Zentrum ihrer Malerei steht der Mensch. Ihre Figuren erscheinen oft fragmentiert, isoliert und doch auf subtile Weise miteinander verbunden. Die Kompositionen erinnern an Collagen, in denen verschiedene visuelle Ebenen aufeinandertreffen. Realistische Darstellungen des Körpers begegnen abstrakten Elementen, linearen Strukturen und gezielt eingesetzten Störungen wie Farbtropfen oder transparenten Überlagerungen. Die Figuren scheinen in einem zeit- und raumlosen Zustand zu existieren, eingefangen in Szenen, die wie Ausschnitte aus einem größeren Narrativ wirken, das sich einer eindeutigen Deutung entzieht. Schafhauser geht es nicht darum, feste Antworten zu geben. Sie interessiert sich für den Prozess des Suchens. Ihre Werke erzählen keine abgeschlossenen Geschichten, sondern öffnen Räume, in denen Betrachterinnen und Betrachter eigene Erzählungen entwickeln können. Die Künstlerin stellt Fragen, ohne sie zu beantworten. Sie beobachtet, verdichtet, kombiniert und konfrontiert Gegensätze wie Nähe und Distanz, Bewegung und Stillstand, Verletzlichkeit und Stärke. Aus der Spannung dieser Gegensätze entsteht die emotionale Kraft ihrer Kunst. Kunstkritiker beschreiben Schafhausers Bildsprache als poetisch, vielstimmig und offen.

Ihre Gemälde treten miteinander in einen Dialog, und jede Leinwand vereint mehrere Fragmente, die wie locker zusammengefügte Puzzlestücke erscheinen. Diese Offenheit schafft Raum für individuelle Deutungen und persönliche Assoziationen, die das Kunsterlebnis lebendig und tiefgründig machen. Seit über zwanzig Jahren arbeitet Schafhauser als freischaffende Künstlerin. Ihre Werke wurden in zahlreichen Einzel- und Gruppenausstellungen gezeigt, unter anderem in Finnland, Spanien, Schottland, Portugal, Russland, Japan und auf den Philippinen. Ein bedeutender Meilenstein war ihre Einzelausstellung im Moskauer Museum für moderne Kunst, bei der sie als erste finnische Künstlerin überhaupt eingeladen wurde, eine Soloschau zu gestalten. Ihre Arbeiten befinden sich heute in mehreren namhaften öffentlichen Sammlungen, darunter das Hämeenlinna Kunstmuseum, die Paulo-Stiftung, das Moskauer Museum für moderne Kunst und die Diak-Kapelle in Helsinki. Mit über zwei Jahrzehnten kontinuierlicher künstlerischer Praxis, einer starken internationalen Präsenz und einer sich stetig weiterentwickelnden Bildsprache gehört Vilmalotta Olivia Schafhauser heute zu den eigenständigen und prägenden Positionen der zeitgenössischen figurativen Malerei in Finnland.

is a German-Brazilian artist whose work oscillates between expressive figuration and emotion. Her artistic journey has taken her beyond Rosenheim to international exhibitions in Europe and the USA. Grandi's powerful paintings blend intense colours, physical gestures and moving compositions. Her works radiate a physical energy in which human emotions, social themes and aesthetic sensibility find dense visual expression.

This is particularly impressive in her dance series "Noch einen Tanz" and "Special Sessions", in which she depicts bodies in ecstatic movement, frozen in moments of rhythm, intoxication and inner tension. These paintings celebrate the vitality of the body, the expression of the soul and the poetry of movement. Grandi's style is characterised by bold brushstrokes, bright contrasts and an intuitive choice of colour, often combining red, green, blue and violet. The bodies appear almost sculptural, as if they were modelled from paint itself, formed by rough, impulsive strokes and thickly applied layers of paint applied to the canvas both with a brush and with bare hands.

Her painting style carries a powerful physical presence, palpable in every agitated application of colour, as if the entire creative process were an act of direct, physical engagement with the material. Her figures appear tense and vulnerable at the same time, captured in scenes that tell of intimacy, strength and connection. Another central component of her work is the "Favela Lights" series, in which she portrays life in Brazilian neighbourhoods with empathy, depth and a sense of beauty that goes beyond clichés. Scenes of everyday life, encounters on the pavement, conversations and simple rituals are translated into vibrant colours and geometric compositions. Grandi has taken part in renowned exhibitions in Paris, New York, Miami, Luxembourg, Helsinki, Le Mans, Salzburg, Venice and Munich.