Marie-Ghislaine Beaucé is an artist whose journey is deeply rooted in her fascination with textile materials and their artistic potential. Her exploration of different textures, colours, and forms has led her to develop a distinct visual language that merges the tactile quality of textiles with the conceptual rigour of geometric abstraction.
Vian Borchert is an acclaimed artist known for her abstract expressionist style characterized by a poetic take. Borchert has exhibited for many years in numerous exhibitions in both group and solo shows worldwide. Vian is a graduate and “Notable Alumni” from the Corcoran College of Art and Design George Washington University, Washington, DC. Borchert serves as the Art Lead for the Oxford Public Philosophy Journal, based at Oxford University, UK.
Jocelyn Hobbie is a visual artist based in New York City known for her brilliantly painted canvases of attractive young women in introspective states. She creates a situation of inadvertent voyeurism with the viewer drawn into circumstances where personal judgment becomes subsumed by an overall mood.
Katinka Lampe paints portraits. Or at least, you can clearly recognise the representation of a person. Yet, this is not the main motive of the painting. The portrait merely serves as reason to make the painting. The portrait is the imagery concept. Her paintings greatly appeal to the beholders.
Israeli oil painter Guy Yanai captures peaceful moments featuring architecture and plants. Often merging indoor and outdoor perspectives, Yanai presents placid scenes devoid of human figures. Instead, scraggly houseplants and open doors and windows act as visual focal points, suggesting the presence of human life that may have potted the plant or propped open the door.
In her painterly practice, Naomi Okubo develops beautiful and seductive images that mask darker themes relating to her adolescence and that are connected to greater problems and inconsistencies in society.
Alisa Chernova enters the contemporary art scene not as a painter alone but as a psychotherapist turned artist, who has transformed the consulting room into the canvas. Few artists embody with such clarity the conviction that painting may serve as a visual laboratory for human subjectivity, where the fragmentary self can be staged, tested, and reconstituted. Her background as a Gestalt therapist infuses every brushstroke with the weight of psychological encounter: each canvas is not a representation but a session, not a depiction but a dialogue.
In situating Mario Molins within the contemporary art scene, we see his singularity: a sculptor who resists spectacle to insist on ceremony, who resists acceleration to insist on continuity, who resists oblivion to insist on memory. His conviction that sculpture can still be spiritual is translated into forms that privilege wound over perfection, memory over erasure, resilience over fragility. The originality of his practice lies in its refusal of superficiality, insisting instead on the deeper rhythm of ritual and the dialogue with nature.
Tatyana Palchuk stands today as one of the most significant European Baltic painters of her generation. Her career, built on discipline, independence, and vision, has produced works of extraordinary technical mastery and philosophical depth. Whether depicting the warmth of family, the grandeur of the sea, the play of musicians, or the liveliness of still life, she has given us images that will endure. In her canvases, one feels the echo of Renaissance balance, the stillness of Vermeer, and the poetry of Chagall, but above all, one feels the unmistakable presence of her own voice: clear, warm, and profoundly human.
In Bech’s portraits, we see more than individuals. We see humanity itself, fractured and whole, fragile and enduring, luminous and shadowed. We see the persistence of the human face as the mirror of history and the vessel of meaning. And in seeing, we are reminded that art’s highest purpose is not only to represent but to reveal.
It is perhaps not an exaggeration to say that Carol Wates’s art is a turning point in the history of drawing. She demonstrates that the discipline can survive the transition from paper to pixel without loss but with gain, gain in speed, in luminosity, in immediacy. Her art is not merely a continuation of drawing but its renewal. In this, she stands as one of the most important visual artists of her generation, ensuring that drawing, that most ancient of practices, continues to live in the present tense.
Patrick Egger is, quite simply, one of the most important painters of our time. His works, whether of the Drus, the Cervin, the Creux du Van, or the quiet marshlands of autumn, extend a lineage that stretches from Friedrich to Turner to the Barbizon school, while remaining unmistakably contemporary. They are acts of devotion to nature, to perception, and to the possibility of emotion in painting.
IRIS, the Romanian born and Austrian based artist, has created such a language. Her invention of Fluidism is not merely a stylistic innovation but a profound philosophical system, a visual and spiritual poetics that binds the act of art making to the elemental principle of water. Her works, resplendent with the seven colors of the rainbow and their infinite interminglings, do not simply depict bodies, animals, landscapes, or faces, they articulate the very liquidity of existence.
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.
