My paintings are a product, a reaction to my life experiences, based on my relationship with the given reality; my poetics actually dwell on that dark side of life—both personal and universal. Perhaps they are my images on the other side of beauty, but I want to express feelings of horror, fright, and the tragic aspects of human existence.
I am Jaime Eduardo Kafati. I’ve been painting since I arrived in the United States in 1978, but it wasn't until 2018, when I retired from my day job, that I was able to devote to my studio to my art on a full-time basis. Between intermittent commissioned works, I engaged in continued figurative studies, attending local life-drawing sessions, exploring new mediums, and creating allegorical paintings that allowed me to express my contemplations of the world.
Barbara Derecka is a contemporary visual artist originally from Poland, now based in Cheshire, England. Working across acrylic, oil, watercolor, and mixed media, her practice is distinguished by its vivid colour, expressive form, and emotional depth. Her artistic vocabulary spans acrylic, oil, watercolor, and mixed media, allowing for fluidity in texture, depth, and colour intensity.
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.
My work is about taking reference from various sources including books, the net and photos to comprise and create my own imagery. By creating my paintings through reference or made up elements, there becomes a play between artificiality and realism.
Neo Rauch's paintings are characterized by a unique combination of realism and surrealist abstraction. In many of his compositions, human figures engaged in manual labor or indeterminable tasks work against backdrops of mundane architecture, industrial settings, or bizarre and often barren landscapes.
Toyin Ojin Odutola was born in Ile-Ife, Nigeria in 1985, and later moved with her family to Alabama. In 2007 she was selected to attend the Norfolk Summer Residency for Music and Art at Yale University and continued her studies at the University of Alabama in Huntsville. She then earned her master’s degree in Painting and Drawing at the California College of the Arts in San Francisco in 2012. She currently lives and works in New York.
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.
Paco Pomet combines chilling social commentary with humorous juxtapositions of past, present, and future in his satirical paintings .
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.
