Margaretha Gubernale has pursued, with unwavering determination, an artistic vision that resists compromise. Born in Zug, Switzerland, in 1941, Gubernale has forged a path that not only defends the figurative imagination but also elevates it into a symbolic-narrative cosmology of extraordinary depth. Her paintings oil on canvas, carefully crafted with luminous fields of blue and intricate figural arrangements stage a theatre of metaphysical inquiry.
Standa’s position within the international art scene should be regarded as essential. He represents the survival of modernism’s experimental drive, infused with the subjectivity of an émigré who has lived across geographies and cultures. In this sense, his career recalls that of great visionaries such as Paul Klee or Antoni Tàpies, figures who made abstraction into a form of ethical reflection. His paintings matter because they remind us that to create is also to care, to imagine is also to heal, and to look is also to remember.
Kat Kleinman’s collages emerge at the intersection of psychology, photography, and handicraft, a confluence that makes her contribution to contemporary art both singular and necessary. In an era where cynicism masquerades as sophistication, her unabashed commitment to joy reclaims art’s most elemental function: to heal.
There are artists who paint beauty. There are artists who craft worlds. And then, there are artists like Emela Brace Nomolos, who summon codes from the cosmos and deliver them to humanity as transmissions, not canvases. To review Nomolos’s oeuvre is to engage with a body of work that transcends art as we know it; it is to encounter a visual and spiritual philosophy, a sacred practice, and, ultimately, a radical invitation to remember.
To stand before an Almosawi canvas is to feel the intimacy of a whispered confession and the gravity of a cathedral. It is to sense that art still carries revelation. His canvases will outlast their moment because they do not belong to fashion; they belong to time. Almosawi confirms what we have always known but too often forget: the truest purpose of art is not to mirror the world but to transform it.
Jarmila comes from the Czech Republic. She has been focusing on abstract painting for the last nine years. Most often she paints with acrylic on canvas or uses a mixed media technique. She is fond of shaping paints and pastes on canvas with a spatula.
I see my art as a living conversation, enriched by diverse readings. The symbolic layers I employ function like a palimpsest: allowing erasure, rewriting, and re-vision. In each context, the work may evoke different myths, memories, or modes of seeing, and this variability is part of its vitality. I trust in the resilience of images to resonate across boundaries, and in the unpredictable dialogue between viewer, culture, and history that keeps the work alive and ever-evolving.
My creative process is a way of holding onto what is beautiful and ephemeral, ensuring it is not lost to time. Each stroke or line is an act of appreciation, acknowledging how deeply these personal ties enrich my existence. Ultimately, my art is a celebration of human connection and the enduring power of memory, inviting viewers to find the extraordinary in the ordinary.
Growing up in Chennai, I was surrounded by rhythm — not just of music or language, but of rituals, festivals, colours, and textures. It’s a city where the ancient coexists effortlessly with the contemporary, and that duality continues to influence my work. The vivid colours of temple architecture, the meditative geometry of kolam designs and the undulating sound of Carnatic music, found their way into my subconscious and now echo in my paintings.
THE COLLECTORS ART PRIZE recognizes outstanding achievements in contemporary art by celebrating the work of extraordinary artists whose practices are among the most innovative and influential of our time.
My genre of painting is something that I would like to describe as ”metaphysical fantasy” with elements of esoterical mysticism paired together with ”regular” fantasy, but with a twist, e g inspiration from mythology, world-culture, and my own imagination in a (maybe) weird mix.
Ai-Wen Wu Kratz holds a Master of Fine Art degree from Cranbrook Academy of Art. She is an alumna of Skowhegan School of Painting and Sculpture and of New York Studio School of Drawing, Painting and Sculpture. Wu Kratz has had One-Person Exhibitions in the United States, France, Germany, England, Egypt, and Austria.
Bo Kravchenko is an American contemporary artist of Ukrainian origin. He got his Master’s degree in Book Graphics at Kyiv State Academy of Arts and started painting in 2010 after a long and successful career in creative advertising.
I feel a strong connection to all the beauty that surrounds me: the trees, plants, animals, fields, the sea, and the sky. Making photographs in these landscapes is a kind of meditation for me, and I feel the healing power. Through my art I have found my place in the world.
I am fascinated by nature, which is an infinite source of inspiration for me; it's a bit like a bottomless well… In nature, I admire the organicity of its shapes and structures. Wavy sand by the seashore, mountain peaks on the horizon, or even the texture of tree bark give me creative energy.
Hailing from the dual heartlands of Finland and Estonia, Salminen lives and creates between two cultures, two coastlines, two visions of Northern beauty. Her work is not merely admired; it is collected, exhibited, and quietly celebrated across Europe and the United States in galleries in Italy, Germany, Spain, the UK, and far beyond. And it is little wonder why. For what she brings to the contemporary art world is not just technical finesse and chromatic brilliance, but an emotional honesty that disarms.
Art is the most profound expression of the human spirit. I am exploring the psychological disjunction in our contemporary life caused by its fast pace and rapid changes. The youth of today have too much information, they struggle to keep their personal and/or cultural identity and try to make sense of reality. Their world has become filtered. The Iris suggests natures beauty, in it’s original form and is a symbol for hope.
My work explores how images can stay in the consciousness and meld with the present, sometimes, as what you saw less than a second ago, but also with the more distant past.
Mario's pictorial style is very close to expressionism and fauvism, with a very personal cut. Born as a video maker, he moved to painting in 2018, essentially in oil, on cardboard and canvas. In 2025 he also created sculptures, such as bas-reliefs
When I am out, they’re in nature, following and observing nature I learn again what is proportional, what are the authentic colours. It’s so important to me to do this, gives me objective feedback. More like a test for mixing colours and grasping the essence of the scene Infront of me.
