Rebecca Brodskis paints exclusively figures, mainly portraits. With no context background setting, only the faces count. Her models are often strangers whom she has met and whose representation she modifies through her imagination.
While reduced details allow a sense of uncertainty to overcome the images, the looks are thoughtful or deliberate. She says: "A portrait is, above all, a reflection of the soul – I don't paint portraits, I paint people."

Niki de Saint Phalle's 1985 artwork titled "Death" is a striking sculpture that resembles the bigger sculpture that forms part of her renowned Tarot Garden in Tuscany, Italy. This piece represents the Death card from the tarot deck, a symbol often associated with transformation and new beginnings rather than literal demise.
The sculpture features a skeletal figure astride a horse, both adorned with the artist's signature vibrant mosaics and bold colors. Through this work, de Saint Phalle explores themes of mortality and rebirth, inviting viewers to reflect on the cyclical nature of life.

A Senegalese ceramicist Seyni Awa Camara creates many-headed, totemic works that evoke bestiaries and maternity scenes. The artist, known locally as the “Magicienne de la Terre,” or “Magician of the Earth” was introduced to traditional pottery techniques by her mother when she was a child.
As Camara grew older, she began producing not only the utilitarian ceramics used by her family, but also sculptures to sell in the market near her home. After the anthropologist Michèle Odéyé-Finzi began collecting her works in the 1980s, Camara began to receive increasing attention from the international art world.

Known for her intricate and evocative installations that explore themes of memory, human connection, and the passage of time, Chiharu Shiota’s works often bridge the boundaries between sculpture, performance, and conceptual art, creating immersive environments that invite viewers to reflect on their own experiences and emotions.
This work continues Shiota's exploration of themes such as connection and the intangible aspects of existence. While specific details about "In the Hand" are limited, it is consistent with her artistic focus on the interplay between the physical and the ephemeral.
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