Sharif Farrag (b. 1993) is an American artist of Egyptian and Syrian descent, working primarily in ceramics and sculpture. His practice draws from personal narratives, punk culture, street aesthetics, and fantasy, creating vibrant and chaotic objects that challenge traditional forms and embrace hybridity.
Long Distance Runner Jug (2024) is a glazed ceramic vessel teeming with animated figures, riotous color, and pop-cultural iconography. The surface becomes a densely packed tableau of grotesque characters, streetwear references, and surreal juxtapositions. Part vessel, part fever dream, this jug embodies Farrag’s fascination with identity, resistance, and survival through expressive, maximalist storytelling.

Not Vital (b. 1948) is a Swiss artist and sculptor known for his transnational approach that blends minimalism, surrealism, and anthropological inquiry. His work draws on the landscapes and cultures of regions as diverse as Switzerland, China, Niger, and South America, often focusing on the intersection between the natural world and the human experience.
Tongue (2018) is a black granite sculpture that fuses organic abstraction with sleek sensuality. The elongated, polished form evokes bodily presence — a tongue, perhaps, or a monolithic totem, while maintaining a silent, enigmatic aura. Its dark, mirror-like surface invites reflection, both literal and philosophical. This piece exemplifies Not Vital’s ability to distill complex human sensations into elemental form, transforming raw material into poetic presence.

Rineke Dijkstra (b. 1959), a Dutch photographer, is celebrated for her emotionally nuanced portraits that capture transitional states of identity. Known for her straightforward, frontal compositions and restrained backdrops, Dijkstra often photographs adolescents at moments of personal or physical transformation, drawing subtle tensions between vulnerability and resilience.
‘Hilton Head Island, S.C., USA,’ (1992) depicts a teenage girl in an orange bikini standing alone on a desolate beach. Her pose is slightly awkward, with her hand raised to her hair, evoking a raw, unguarded immediacy. The calm seascape behind her contrasts with the internal unease visible in her expression and body language.
As with much of Dijkstra’s work, the photograph functions as a psychological mirror: the viewer is left to contemplate the young subject’s unspoken interiority. The image is formally simple but emotionally complex, capturing the liminal space between childhood and adulthood. The result is an enduring portrait of identity in flux, poised at the threshold of becoming.

Iván Navarro (b. 1972), a Chilean-born artist based in New York, is renowned for his use of light, electricity, and industrial materials to explore themes of power, memory, and illusion. Drawing from both minimalism and political histories, Navarro’s installations are immersive meditations on perception and control.
Shell Shock VIII (2024) is a square light sculpture composed of LED light, wood, laser-cut mirror, and a one-way mirror system. Mounted as a diamond, the work radiates explosive yellow and orange light from its center, creating the illusion of infinite depth. This optical burst resembles both a cosmic event and a psychological rupture; the viewer is drawn into a vortex that never resolves.
The interplay of mirrors and electricity disorients spatial expectations, while the title nods to trauma and rupture, both personal and historical. As with much of Navarro’s work, Shell Shock VIII is at once visually mesmerizing and politically suggestive — a pulsating monument to fragility hidden within spectacle.

Pam Evelyn (b. 1996, Surrey, United Kingdom) is a British painter whose gestural abstractions blend vivid color, layered mark-making, and spatial ambiguity. Drawing on intuition and improvisation, her work evokes a sense of emotional rhythm and restless transformation.
Focal Length (2025) is a radiant tangle of brushwork and veiled contours, its surface pulsing with saturated oranges, violets, cobalt, and viridian. Forms appear and disappear in a near-musical rhythm, as if composed through breath rather than brush. While nominally abstract, Evelyn’s painting hints at figuration, perhaps a body caught mid-motion, a landscape glimpsed at speed.
Color becomes the lens through which perception is stretched and bent, collapsing inside and outside into a single visual field. The painting does not describe, it vibrates and suspends time, like a memory recalled but never fully grasped.

Genesis Belanger is a New York-based artist known for her psychologically charged sculptural works that transform everyday objects into uncanny symbols of emotion and critique.
Man Trap (2025), is a porcelain sculpture featuring a disembodied hand clasping a stylized sandwich—both humorous and unsettling. Drawing from a 1969 Wonder Bread ad that dubbed sandwiches made by women as “Boy Traps,” Belanger engages in a nuanced critique of gendered consumerism and domestic labor.
The exaggerated fingers and pastel palette evoke a surreal domesticity, while the object’s tactility underscores its conceptual depth. The work interrogates the aesthetics of entrapment and commodification, positioning Belanger at the intersection of feminist discourse and sculptural subversion.

Yann Gerstberger is a French-born, Mexico-based artist whose practice fuses textile, painting, and craft traditions into vibrant, textured compositions.
Automatic (2025), exemplifies Gerstberger’s signature technique: hand-dyed cotton and polyester yarns, originally sourced from mops, are arranged on canvas using a combination of glueing and sewing. The result is a lush, tactile surface that oscillates between abstraction and figuration. Drawing on motifs from Mexican folklore, nature, and pop culture, Gerstberger crafts a visual language that is both playful and rooted in place.
The synthetic and natural dyes produce bold, sun-drenched hues, reminiscent of both psychedelic poster art and pre-Columbian textile traditions. Automatic captures the artist’s ongoing inquiry into the legacy of modernism through a lens of folk materiality, celebrating imperfection, repetition, and the spiritual potential of handmade labor.

Enrico David is an Italian artist whose multidisciplinary practice spans sculpture, painting, and installation, often centered on the human form and psychological interiority.
Assumption of We (2014–2025), exemplifies David’s enigmatic, corporeal aesthetic. Standing at two meters tall, the work combines polymer plaster, graphite, stainless steel brackets, and a copper-plated steel plinth with bronze patina. The sculpture presents a fragmented yet intimate anatomy — an ambiguous figure caught between formation and disintegration.
Its textured surfaces and muted palette evoke a sense of vulnerability and metamorphosis, suggesting both ritualistic elevation and existential collapse. Rooted in David’s broader exploration of identity and transformation, Assumption of We reads as a psychological monument: a body both elevated and exposed, teetering between sacred form and spectral ruin.

Raymond Pettibon (b. 1957), is an American artist whose work bridges the graphic intensity of punk aesthetics with the literary gravitas of high modernism. Known for his text-image hybrids, Pettibon draws from cultural iconography, literature, and politics to construct psychologically charged narratives.
No Title (Her lover, of) (2007), features a spectral rendering of the Statue of Liberty, awash in ghostly greens and inscribed with dense, elliptical text. The ink and watercolor bleed into one another, creating a haunting effect that destabilizes the iconic figure into something more fragile and melancholic. The handwritten text meanders across the composition like a fevered monologue — fragmented, intimate, and elegiac.
This piece encapsulates Pettibon’s signature method of subverting national symbols, offering a poignant meditation on identity, exile, and myth in post-9/11 America. The visual and textual elements coalesce into a destabilized vision of liberty — wounded, but still speaking.

Abdelkader Benchamma (b. 1975), is a French artist based in Paris and Montpellier, celebrated for his intricate ink-based compositions that explore natural phenomena, metaphysical states, and the boundaries of perception.
Trees – Orbes (2025), exemplifies Benchamma’s virtuosity in manipulating ink to conjure an ethereal forestscape. With swirling strokes and spectral bursts of purple, sienna, and black, the piece evokes a hallucinatory woodland, caught between material reality and otherworldly flux.
Branches emerge and dissolve in a kinetic interplay of form and void, conjuring the sensation of a landscape glimpsed in a lucid dream. This work speaks to Benchamma’s ongoing inquiry into cosmic energies and the instability of physical environments, blurring the lines between scientific illustration and mystical vision.