Currently lives and works in Berlin, Germany. Her works play with the intersection of materialities and imagery while deliberately staging painting and photography in the sculptural field. The desire for drawing reveals itself in the moment of struggling for its volatility. The moment when drawing becomes a model – the beauty in the failure of surfaces.

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Jack lives and works in London.
Graduated in Fine Arts from the University of Leeds in the United Kingdom and Jan Matejko Academy of Fine Art, Krakow, PL.
His recent monochrome paintings display distortions in tonality and optical depth. Otway’s ‘Smooth Spaces’ series explores small destructive gestures as creative acts and foregrounds an economy of subtraction and interference over methodologies of addition. What is emptied out and what we are left with are two key questions here. Immediacy is replaced by mediation and we are left with indirect painterly effects. Initial applications of paint and marks made are treated unsentimentally and as values that are not fixed. Simple repeating patterns are smoothed over, dragged across and pulled back again from all angles. Otway is interested in the processes and gestural transformations in painting (or of information/ image making) after the fact. He finds a productive space in the ability to go backwards, similar to digital editing techniques. It is the bare bones, the constituents of painting that Otway is dealing with: viscosity, absorbency, friction, drying time, and tonality. Otway explores how focusing on these fundamentals and their manipulation can incidentally create surprising material effects and distortions. Conceptually, the obfuscation of what is initially laid down becomes an act to open the surface up to new compositions and effects. It permits qualitative change and generates textural affects: a sense of motion or touch. Graphite paint across low friction, low absorbent gesso surfaces takes on the appearance of a mushroom cloud, white noise or the aluminium powder in an Etch a Sketch.

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Lisa lives and works in Berlin. Artist that uses form, materiality and colour in her sculptural work to address universal questions. Her creative process is motivated by philosophical inquiry that resonates in her work and leaves a personal fingerprint. Instead of searching for definite answers and creating a static sign system she is interested in challenging existing paradigms that attribute a constant value to all things. The underlying theme of her work is the volatile relationship between form and meaning. In this sense her sculptures are snap-shots demonstrating a momentary status quo within a dynamic environment.

With her sculptural series ​Couples​ she centres on the relationship between two elements of different materiality. The artist outlined a series of basic forms that she translated into respective sculpture couples. Each one consists of one clay and one paper object that have joined together both taking on the same predefined form. While the two elements are closely nestled together and can be perceived as a unity they remain separate entities. The space between the two elements is where attracting and rejecting forces generate creative friction and where balance can be manifested. Tiemann’s chosen forms do not appear as constructed or complete poses but rather represent a transitional position within a continuous course of movement. The elements have a subjective quality and seem to have bent and stretched themselves into their position of their own accord.

He lives and works in Lisbon. Rafal Topolewski is working both with figurative images based on memory of his personal childhood, and on non-figuration that is intuitive and uncertain, questioning the identity and provisionality in art.
The non-figurative works are oscillating in a loop of self criticism and on the rejection of paint. They are numerously reconstructed and redirected by the application of paint and removal of it. This process of constant disapproval, puts the work of art in a temporary state, questioning where the art work starts and what defines the finished art work. Alongside oil paint, provisional elements like masking tape and tissue paper become a permanent part of the work.
The representational paintings refer to childhood memories, to the moral system that has been applied by religion and by ethics. Questioning the restrictions that help to construct a child’s morality, which often are negated by actions of authorities. There is an interest in ethical reevaluation, pushing the boundaries of tension and aggression back and forth.
In the work ‘’Knife between chin’’ Rafal touches the subject of morality and violence by depicting a boy with a knife. However this is a direct reference to a game that was popular amongst boys during the artist’s childhood, called Pikuty. The rules of this game are that the knife has to be thrown from several parts of body to the ground (such as fingers, elbows or chin) and aim so that the blade sticks into the ground, in order to progress to another part of body, finishing with the top of the head throw. There is a certain danger and anxiety, an edge of playfulness and aggression in this game.

Robert Roests practice of painting is visually rooted in both the contemporary world of new media as in the history of painting. In his work Roest explores painting in relation to digital media. His work is structured in a series of about 5-15 works. This serial method provides him to explore the possibility of his themes from different angles, and deploy multiple styles, as well as to keep his work open and not be pinned down too quickly on a particular idea or perspective. The series exist next to each other, in the same way different roles of an actor coexist. The work is much about the physical experience of seeing and also on our perception, about the impact images have on us, not at least the images we see online.

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