First an abstractionist, Malone investigates his themes, people and landscapes in several other painterly genres as well. Lately his approach to painting has evolved into an amalgamation of these influences and, coupled with a renewed emphasis on narrative, has led him to a signature style and palette in his latest series, Rust unto Gold.
I work with fragments, surfaces, and the slow language of erosion. My images are not constructed as scenes, but uncovered as traces – layers shaped by time, interruption, and quiet transformation. What appears is never complete; it lingers between presence and absence, structure and dissolution. The work invites a pause, a moment of listening, where memory settles into matter and silence becomes part of the image.
Tom pursued his natural sciences studies at the universities of Berlin, Rochester (New York), and Paris, while also attending fine arts classes at academies in each of these cities. After earning his PhD in radiation chemistry from the University of Paris, he focused on research and projects in artificial intelligence, knowledge management, and innovation strategy.
John Chehak, life-long resident of Cedar Rapids, Iowa, is a self-taught, award-winning artist who has been painting professionally for more than 25 years. John’s medium of choice is acrylic on paper and canvas using brush and palette knife. His original work has taken on new and unique personalities with vibrant colors, symmetry, and compelling presentation. Chehak describes his many mesmerizing styles as having developed from the need to “un-trap himself” from an artistic routine to explore other expressive and imaginative opportunities.
The creation of images in the "New Pointillism" requires a significant amount of time. This highly meditative process stands in stark contrast to the fast-paced, digital age and invites the viewer to appreciate the slow, conscious creation of beauty. The experience of standing before one of these images should be a journey into silence, a rare commodity in today's art world, where shock value is often prioritized over substance. My paintings, beyond their aesthetic beauty, convey a message about the necessity of slowness and contemplation in our fast-paced world.
Stephanie Bing (born 1967 in Mannheim, Germany) is an internationally recognized contemporary artist whose vibrant, multi-layered paintings reimagine interiors as poetic sanctuaries. She studied Fine Arts, Painting, Photography, Art History, German, and Literature at Johannes Gutenberg University and the Academy of Fine Arts in Mainz, graduating with distinction under the mentorship of Professor Klaus Jürgen-Fischer and Professor Dr. Vladimir Spacek.
Stefan Fransson is a Swedish contemporary artist who blends digital collage, sculpture, and organic forms to create layered images. He combines soft tones with sharp contrasts, adding transparency and depth to each composition. His art often features geometric fragments and natural textures that form complex visual structures—through which he explores space, memory, and perception.
While painting the gold, I enjoy it's beauty and the technique I use. I experiment with different colors, in the gold or silver and in the shadows, because the standards are never set. This is the technical part on which I focus, compartmentalized is the connotation of sadness and melancholy. It is an intuitive process rather than something planned or thought out, and it changes as the painting progresses. The figures surely feel protected, but in a certain way are exposed at the same time because you can't help but wondering what lies underneath, which is the relationship between surface and depth.
I’m a contemporary paintress based in Switzerland. My works blends abstraction, symbolism and emotional depth, creating a visual language that feels both intimate and universal. With a distinctly modern sensibility, I’m explore the spaces between forms and feelings, guiding art lovers into dream like atmospheres that often evoke memory, introspection and quiet transformation.
As I approach my 74th year, various happenings have brought about big changes in my art involvements. I now concentrate more on solo exhibitions and have increased time spent on mailart and the making of art books. I prefer solitude, retreating more and more into the silence of my studio. Art continues to soothe the soul, providing a comforting balm for both mind and body.
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.
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.
Paco Pomet combines chilling social commentary with humorous juxtapositions of past, present, and future in his satirical paintings .
I conceive of roses and cranes as living entities endowed with mind and emotion. This perception arises from an inner, multidimensional worldview that is liberated from physical and temporal constraints, within which such beings reveal themselves in this form. What appears there is not the object itself, but the manifestation of mind and emotion; at times, the universal ideals of truth, goodness, and beauty—which each being may inherently possess—are reflected with clarity and dignity within the rose.
Christy Chor is a Canadian ceramic artist who creates a body of narrative-driven sculptural work exploring the sensory dialogue between humanity and the natural world. Her master theme, BACK TO NATURE, unfolds through successive series including Bird, Bear, and her current Mountain works, serving as tactile meditations on wonder, imbalance, and rebirth. An internationally recognized and award-winning artist, Christy's practice merges cross-cultural perspectives, uniting her ceramics education from Sheridan College in Canada with professional experience in Asia's design industry. Through this unique lens, she creates sculptures that are both communicative and masterfully composed.
I am interested in the tension between escapism and the weight of the real because I don’t think we ever fully move from one to the other. Screens offer us moments of escape, projection, and imagination, but they are also where anxiety, comparison, loneliness, and desire accumulate. What looks like lightness or play often carries a quiet heaviness underneath. In that sense, fantasy and the ordinary are not opposites in my work—they coexist and constantly bleed into each other.
I am guided almost entirely by intuition, an inner voice that speaks through the process. When something is missing, the painting carries a sense of visual emptiness; it has not yet found its soul. The moment of equilibrium arrives when that inner voice becomes clear. A sense of fullness rather than excess. That is when I know the painting has reached its emotional balance, and that nothing more needs to be added or taken away.
Michel Testard is a contemporary painter whose work is shaped by long-term travel and lived experience across Asia, India, Europe and the polar regions. Born in Japan and raised between continents, he has developed a practice rooted in travel, cultural immersion and sustained encounters with distant places. His paintings explore landscapes, interiors and human figures as emotional spaces rather than documentary subjects, blending observation, memory and imagination.
I don’t see anything particularly abstract in my work. I see a mode of expression through colors, texture, and theme. I see a transmission of emotion much more than abstraction.
For me, it’s visual, it’s emotional, but not abstract.
When I choose something that evokes liquid, metallic, or cosmic surfaces, it’s a choice. When I choose a reserved woman or a child with a bear, it’s a choice, but it’s not abstraction.
I want the audience to feel an intense sensation, an intense emotion, something that touches them. It’s not an endpoint; it’s the beginning. It’s a choice to choose colors, forms.
I want both recognizable iconography and visual density.
