Born into a family of artists in Sarrebourg, Moselle, in 1948, Gérard Stricher began painting in the 1970s, when he was still an engineering student in Paris. He moved in art circles and found buyers and encouragement for his work, but his interest in the industrial field shifted his path to an international career in management. He became a "world citizen," absorbing landscapes and cultures from all corners of the globe, an influence that would later be reflected in his work.

He led a hugely successful executive career until he eventually moved back to painting in 2003. Stricher is adamant that his career and its world travel opportunities have shaped his art uniquely, allowing him to view many different cultures and artistic trends beyond that he was raised with, which greatly widened his scope of style.

In 2004 he bought an old mill in the Vexin region of northwestern France, where he set up his studio and began working intensely: this was a new adventure centered totally on his painting. Influenced by the nature surrounding him, Stricher’s work focuses on abstract explorations of color. Conscious of the land surrounding his workspace, Stricher describes le Vexin as “offering a unique quality of light and diversity of landscapes.”


Though many would describe his work as abstraction, Gérard Stricher himself believes there is no such thing. Each painting created is a work of a living being who is present in nature; the work reflected onto the canvas is therefore influenced by the artist’s own unconscious impulses. Much of Stricher’s work can be rooted to his prolonged intrest in the School of Cobra Painters: Appel, Lindström, Jorn, etc. Pushing his research in this direction has led him to
discover the true power of pure color and material. However, little planning is done in preparation for his paintings, they rely on his spontanious emotions and instinctual color parings.

“My gestures in the act of painting do not follow the inputs of the brain, often my hand makes gestures that rationality does not command, it is the great mystery, the journey into the unknown...”

An exhibition at Espace Commines in Paris in 2007 clinched his reputation with collectors and galleries: his pictures received an enthusiastic reception at the Bartlow Gallery. in Chicago and his American career really took off with a one man show at Art Chicago. He was also shown by the Artbox Gallery in Indianapolis. His paintings were subsequently acquired by the Empire Bank in Springfield, Missouri, the PepsiCo Foundation in New York and various prestigious private collectors in the United States, including Bob Bohlen.

These successes were followed by exhibitions at Galerie Protée and Galerie Schwab Beaubourg in Paris. 2012 saw Stricher on display at Laura Rathe Fine Art in Houston and Dallas, and at Galerie Lindengrün in Vienna (Austria).In 2013 he exhibited at Galerie Mézières in Auvers-sur-Oise, and the following year at Galerie Kellermann in Düsseldorf and Galerie La Véluze in Honfleur. After winning the Dizart Editions competition in 2015 and being rewarded with a monographie, he has just shown at MM Gallery in Brussels. Mid 2017 he joined the Gallery Protée in Paris. During 2020 he joined Judy Ferrara Gallery in Chicago and the Taylor Fundation in Paris. In 2021 he joined Galerie l'Atelier in NYC.

Eric is a Belgian artist born in 1965. He gained a degree in photography from infac, brussels in 1987. Since then he has been a fashion photographer working with many of the top houses. Chopard, Elle, Marie-Claire, L’Oréal, Levi’s, Coca Cola, Virgin, Saab, Delvaux, Lowe Lintas and Ogilvy are some of his clients.

Among other distinctions, his photography for the Saab cabrio 9-3 campaign was awarded the Silver Lion at the Cannes International Advertising Festival. Eric is set apart from many of his colleagues by his way of shunning technical artifice and working in natural light. This results in soft, velvety, almost painterly images. In his artistic works, he captures women’s essence and soul, transcending mere physical representation.

In Eric’s “AMNIOS” series of soul portraits the models appear in suspended animation, as if they were about to be born, and full of hidden secrets. This represents a new conceptual departure for Eric, who began as a fashion photographer, moving on to classic artistic nudes, now showing us the nude in the ethereal form. These forms are certainly beautiful, yet a membrane separates them from us: is it to hide, or protect? In person, these works are monumental in scale, adding to their sense of restrained power.

In the “NUDES” series, Eric uses only natural light, just as a traditional painter would do in their study. Using slow exposure speeds which allow the lens more time to capture each model’s unique character, he reveals a sense of the sublime femininity, which borders on abstraction. Eric’s nudes are the same, yet different. They are all beautiful, yet their differences and unique qualities are magnified. “NUDES” is a series that celebrates the human form.

For “PAINTERS”, Eric collaborates with a different painter for each photograph. More than 100 of them have been invited throughout Europe and the other continents. The artist paints the model in their own style, while Eric searches for attitudes, then he photographs the result. In this way, the Painters series represents a fusion of two artistic visions – something that’s not always easy to achieve, yet this series epitomizes a sense of cohesion and dynamic synchronicity.

His work has been exhibited in Belgium, the United Kingdom, France, Switzerland, the US , China, Singapore, Mauritius, The Netherlands, and Spain.

Born and raised in Dublin, Paul Hughes has cultivated his artistic career from his studio, a repurposed pig barn in Blackrock, Dublin. This space has been instrumental in his development of an ever-evolving series of abstract landscapes. With a career spanning over 35 years, Paul has garnered a dedicated following, particularly in the last 16 years since he began exhibiting his work publicly.

Paul's first major breakthrough came in 2007 with his inaugural solo exhibition 'Ten Paintings' at The Tramyard Gallery in Dalkey, Dublin. This was followed by a pivotal moment in January 2009, when the DDDA invited him to showcase his 'Absorption' / Horizon series in the exhibition titled ‘Do You Ever Get There’. This exhibition marked a significant success and led to his first solo show in London at the King’s Road Gallery in June 2009.

Since his debut in London, Paul has continued to captivate audiences with two more sell-out shows there. His recent venture into the Asian art scene, launched by Tanya Baxter Contemporary with 'The Chiaroscuro series', has further expanded his international acclaim.

Central to Paul's artistic journey is his fascination with light, especially the enigmatic Dark-Light of Dublin Bay. His work is a testament to continuous evolution, driven by his relentless pursuit of abstracting this unique interplay of light and darkness.

Born and raised in Dublin, Paul Hughes has cultivated his artistic career from his studio, a repurposed pig barn in Blackrock, Dublin. This space has been instrumental in his development of an ever-evolving series of abstract landscapes. With a career spanning over 35 years, Paul has garnered a dedicated following, particularly in the last 16 years since he began exhibiting his work publicly.

Paul's first major breakthrough came in 2007 with his inaugural solo exhibition 'Ten Paintings' at The Tramyard Gallery in Dalkey, Dublin. This was followed by a pivotal moment in January 2009, when the DDDA invited him to showcase his 'Absorption' / Horizon series in the exhibition titled ‘Do You Ever Get There’. This exhibition marked a significant success and led to his first solo show in London at the King’s Road Gallery in June 2009.

Since his debut in London, Paul has continued to captivate audiences with two more sell-out shows there. His recent venture into the Asian art scene, launched by Tanya Baxter Contemporary with 'The Chiaroscuro series', has further expanded his international acclaim.

Central to Paul's artistic journey is his fascination with light, especially the enigmatic Dark-Light of Dublin Bay. His work is a testament to continuous evolution, driven by his relentless pursuit of abstracting this unique interplay of light and darkness.

In the autumn and winter of 2014/15, the artist took part in the Luxor International Painting Symposium in Egypt. It was a time of rich exchange with a number of invited artists from different countries and Egypt itself. They stayed in the Winter Palace in Luxor, and the event concluded with a joint exhibition there. Many of the works shown here were inspired by visual experiences that Susanne Zuehlke had in Egypt. As a result, a number of drawings were created in front of the motif. What interested the artist was the tectonic structure of verticals and horizontals that resulted from the tree trunks towering in the hotel garden and their shadows. It was the contour lines of seated colossal statues of Egyptian kings that cascade down. It was the visual structure of the object, not the narrative content, that attracts the artist's attention. These themes have long been the subject of Zuehkle's artistic work: color, form, and light.

Susanne Zuehlke is a colorist, a painter of colors. She worked her way to this position over the years, circling around representational themes, landscapes above all else. Representation is still the trigger for her ideas for paintings. Her plans are recorded in small-format sketchbooks with pencil, in which the artist focuses on the composition. There are also preliminary drawings with representational references on the fine muslin cloth on which the painted compositions will unfold. But it is never the continuum of a landscape or a complete scenario that finds its expression in the painted picture. It is the abstraction from what is seen that goes into the work. Creating forms from color, creating images with light, relating color chords to one another and producing spatial structures on the painting support - these are the artistic concerns that Zuehlke consistently pursues in her work. Each work stands alone, but the characteristics of Zuehlke’s painterly approach are also evident in the grouping of several works.

In the autumn and winter of 2014/15, the artist took part in the Luxor International Painting Symposium in Egypt. It was a time of rich exchange with a number of invited artists from different countries and Egypt itself. They stayed in the Winter Palace in Luxor, and the event concluded with a joint exhibition there. Many of the works shown here were inspired by visual experiences that Susanne Zuehlke had in Egypt. As a result, a number of drawings were created in front of the motif. What interested the artist was the tectonic structure of verticals and horizontals that resulted from the tree trunks towering in the hotel garden and their shadows. It was the contour lines of seated colossal statues of Egyptian kings that cascade down. It was the visual structure of the object, not the narrative content, that attracts the artist's attention. These themes have long been the subject of Zuehkle's artistic work: color, form, and light.

Susanne Zuehlke is a colorist, a painter of colors. She worked her way to this position over the years, circling around representational themes, landscapes above all else. Representation is still the trigger for her ideas for paintings. Her plans are recorded in small-format sketchbooks with pencil, in which the artist focuses on the composition. There are also preliminary drawings with representational references on the fine muslin cloth on which the painted compositions will unfold. But it is never the continuum of a landscape or a complete scenario that finds its expression in the painted picture. It is the abstraction from what is seen that goes into the work. Creating forms from color, creating images with light, relating color chords to one another and producing spatial structures on the painting support - these are the artistic concerns that Zuehlke consistently pursues in her work. Each work stands alone, but the characteristics of Zuehlke’s painterly approach are also evident in the grouping of several works.

Born in Omaha, Nebraska, Ted Hartley faced the early loss of his father, an executive at AT&T. His mother, a dedicated teacher, subsequently raised Ted and his sister by herself, devising special courses for public schools. Hartley's education spanned prestigious institutions, including Annapolis, Georgetown University, and Harvard Business School. His athletic prowess was evident as a U.S. Olympic wrestling finalist and as Head of the International Relations section during the 1984 Olympics in Los Angeles.

His military service was distinguished; as a Navy-carrier-based jet fighter pilot, Hartley embarked on assignments globally, including a period as a White House aide during the Kennedy-Eisenhower era. An aircraft accident at 28 led to his disability retirement as a Lieutenant Commander. Transitioning to civilian life, Hartley navigated through various executive roles, ultimately becoming the Executive Vice President of First Western Financial Corporation.

When the company was acquired by a larger bank, Hartley, then in Los Angeles for a job interview, was serendipitously cast in the television series "Peyton Place" as the Reverend Jerry Bedford. This foray into acting opened doors to co-star roles with legends like Clint Eastwood, Cary Grant, Dean Martin, and Robert Redford, and he later starred in the television series "Chopper One" on ABC.

Hartley also explored directing television commercials and producing films, leading to a significant opportunity with RKO Pictures Corporation. As CEO, he produced a dozen films and several television movies, broadening RKO's scope into Broadway productions. His industry stature is recognized as a member of the Academy of Motion Picture Arts and Sciences and as a Tony voter.

In his philanthropic ventures, Hartley has made substantial impacts as the former Chairman of ORBIS International and as a founding director of the Steadman Philippon Research Institute. He continues to serve on the board of the Village Preservation Society of East Hampton.

Art became a sanctuary for Hartley, especially as he cared for his late wife, actress Dina Merrill, during her health decline. He initiated art classes in their home, engaging Merrill and her friends in a creative and emotional outlet. These classes inspired his own passion for painting, which has now grown into a significant and fulfilling part of his life. Hartley's legacy extends to his family, with a son and two grandsons carrying forward his diverse lineage of achievements and contributions.

Born in Omaha, Nebraska, Ted Hartley faced the early loss of his father, an executive at AT&T. His mother, a dedicated teacher, subsequently raised Ted and his sister by herself, devising special courses for public schools. Hartley's education spanned prestigious institutions, including Annapolis, Georgetown University, and Harvard Business School. His athletic prowess was evident as a U.S. Olympic wrestling finalist and as Head of the International Relations section during the 1984 Olympics in Los Angeles.

His military service was distinguished; as a Navy-carrier-based jet fighter pilot, Hartley embarked on assignments globally, including a period as a White House aide during the Kennedy-Eisenhower era. An aircraft accident at 28 led to his disability retirement as a Lieutenant Commander. Transitioning to civilian life, Hartley navigated through various executive roles, ultimately becoming the Executive Vice President of First Western Financial Corporation.

When the company was acquired by a larger bank, Hartley, then in Los Angeles for a job interview, was serendipitously cast in the television series "Peyton Place" as the Reverend Jerry Bedford. This foray into acting opened doors to co-star roles with legends like Clint Eastwood, Cary Grant, Dean Martin, and Robert Redford, and he later starred in the television series "Chopper One" on ABC.

Hartley also explored directing television commercials and producing films, leading to a significant opportunity with RKO Pictures Corporation. As CEO, he produced a dozen films and several television movies, broadening RKO's scope into Broadway productions. His industry stature is recognized as a member of the Academy of Motion Picture Arts and Sciences and as a Tony voter.

In his philanthropic ventures, Hartley has made substantial impacts as the former Chairman of ORBIS International and as a founding director of the Steadman Philippon Research Institute. He continues to serve on the board of the Village Preservation Society of East Hampton.

Art became a sanctuary for Hartley, especially as he cared for his late wife, actress Dina Merrill, during her health decline. He initiated art classes in their home, engaging Merrill and her friends in a creative and emotional outlet. These classes inspired his own passion for painting, which has now grown into a significant and fulfilling part of his life. Hartley's legacy extends to his family, with a son and two grandsons carrying forward his diverse lineage of achievements and contributions.

Marie-Chloé Duval is a Canadian artist from Kamouraska, Quebec, known for her dynamic and explorative approach to art. Initially pursuing criminology, Duval's transition to the arts was sparked during her graduate studies, where her thesis writing ignited her passion for expressing her views on humanity and society. Developing her visual identity through photography, Duval fully embraced painting in 2016, quickly gaining acclaim by winning multiple awards at her first symposium. Her career has since flourished with solo and group exhibitions globally, and her dedication to continuous learning has led her to artistic residencies in Canada and Europe. An active member of the art community, she contributes as a vice-president of art center boards, participates in artist residency projects, and writes for art blogs. Currently residing in New York City and drawing inspiration from the vibrant human activity around her, Duval is completing her Master's in Fine Arts at the New York Studio School, having previously earned a Bachelor's in Fine Arts from Concordia University.

Marie-Chloé Duval is a Canadian artist from Kamouraska, Quebec, known for her dynamic and explorative approach to art. Initially pursuing criminology, Duval's transition to the arts was sparked during her graduate studies, where her thesis writing ignited her passion for expressing her views on humanity and society. Developing her visual identity through photography, Duval fully embraced painting in 2016, quickly gaining acclaim by winning multiple awards at her first symposium. Her career has since flourished with solo and group exhibitions globally, and her dedication to continuous learning has led her to artistic residencies in Canada and Europe. An active member of the art community, she contributes as a vice-president of art center boards, participates in artist residency projects, and writes for art blogs. Currently residing in New York City and drawing inspiration from the vibrant human activity around her, Duval is completing her Master's in Fine Arts at the New York Studio School, having previously earned a Bachelor's in Fine Arts from Concordia University.

Victoire d’Harcourt, born in Bordeaux, explores the duality of strength and fragility in her mixed media sculptures. Influenced by her experiences in France, Tahiti, and Madagascar, d’Harcourt’s work often reflects a delicate balance between seemingly solid forms and the threads that hold them together. Her pieces invite viewers to consider the precarious nature of connections, posing questions about freedom and entrapment in a world where stability can be an illusion.

Victoire d’Harcourt, born in Bordeaux, explores the duality of strength and fragility in her mixed media sculptures. Influenced by her experiences in France, Tahiti, and Madagascar, d’Harcourt’s work often reflects a delicate balance between seemingly solid forms and the threads that hold them together. Her pieces invite viewers to consider the precarious nature of connections, posing questions about freedom and entrapment in a world where stability can be an illusion.

Born in 1967 in Paris, Marine de Soos spent part of her childhood in Africa, the quest for and strength of which is reflected in her work.

On her return to Paris, where she now lives and works, Marine de Soos started a career in marketing before dedicating herself full-time to sculpture in 1991, alongside her American teacher, the sculptor Jonathan Hirschfeld.

Since 1999, her work has been constantly exhibited and purchased both in France and abroad.

She creates lost wax bronze pieces inspired by her travels and her imagination. She also creates works on institutional commissions.

Born in 1967 in Paris, Marine de Soos spent part of her childhood in Africa, the quest for and strength of which is reflected in her work.

On her return to Paris, where she now lives and works, Marine de Soos started a career in marketing before dedicating herself full-time to sculpture in 1991, alongside her American teacher, the sculptor Jonathan Hirschfeld.

Since 1999, her work has been constantly exhibited and purchased both in France and abroad.

She creates lost wax bronze pieces inspired by her travels and her imagination. She also creates works on institutional commissions.

Claudie Laks embarked on her artistic journey with a foundation in literature and linguistics, later enriching her knowledge at the National School of Fine Arts in Paris and university. Mentored by Georges Jeanclos, she immersed herself in sculptural art, exploring the medium of clay through a Bachelardian lens. This period of artistic endeavor earned her several accolades, including the 1982 Sculpture Prize from the Caplain Saint André Foundation, the 1983 Elf-Aquitaine Foundation Prize, and a notable acquisition by FNAC in 1984. Her work featured in prominent exhibitions like "Ateliers 81/82" at the ARC, "Terres d'artistes" at Beaubourg, and "Expression Sculpture" at the Museum of French Monuments in 1983, along with showcases at the Regards Gallery in 1984 and 1986.

During her tenure as a guest artist at the Sèvres Manufacture, Laks delved into serial works where porcelain, transformed into sheets, became a focal point of several exhibitions. A notable 1989 exhibition at the Cantoisel Workshop in Joigny, shared with Georges Jeanclos, marked a transition from her sculptural work with clay.

The 1990s saw Laks' artistic expression evolve from three-dimensional forms back to two-dimensional surfaces. This journey began with an exploration of relief and fragmentation, employing various forms of clay and wood to create wall installations. Her innovative approach was highlighted in exhibitions at the French Institute of Barcelona (1991) and the "Singularités" exhibition at the Marwan Hoss Gallery (1992). Further, she displayed her large cutouts at the Cantoisel Workshop in Joigny and the "Carré des Arts" in the Parc Floral of Paris in 1995. In 1999, the Romagny Gallery exhibited her series of paper collages and large-format canvas works.

Since the early 2000s, Claudie Laks has primarily focused on large-format painting, showcased at venues like the Sens Museum and the Protée Gallery in Paris, as well as at various contemporary art fairs including Arts Elysées, Art Paris, PAD, and the Karlsruhe Fair. Her return to canvas, brush, and color signifies a deep commitment to creating fundamentally painterly, frontal works that emphasize the retinal principle. Printmaking also plays a significant role in her creative journey, where graphic elements engage in a captivating interplay with bold expanses of color. Collage, seemingly existing on the periphery of her painting endeavors, serves as the connective thread uniting her diverse artistic expressions. These collages are simultaneously pictorial, spatial, and infused with a sense of playfulness, enhancing the depth and intrigue of her artistic portfolio.​

Claire and Siri comprises of two artists, one French, the other Norwegian. They have been painting with four hands for nearly ten years. Their work is comprised of a signature mixture of two perceptions of the plant world. “Golden Root” emphasizes the strength of nature and life, translating their wonder through the oppositions of material between the roughness of the trunk and the lightness of its foliage. Working on balance and harmony, CS Art's themes are symbols common to all cultures. They prompt us to question ourselves about our own roots and the place of man in the world; hoping to contribute to define the meaning of LIFE in the collective consciousness.

Claire and Siri comprises of two artists, one French, the other Norwegian. They have been painting with four hands for nearly ten years. Their work is comprised of a signature mixture of two perceptions of the plant world. “Golden Root” emphasizes the strength of nature and life, translating their wonder through the oppositions of material between the roughness of the trunk and the lightness of its foliage. Working on balance and harmony, CS Art's themes are symbols common to all cultures. They prompt us to question ourselves about our own roots and the place of man in the world; hoping to contribute to define the meaning of LIFE in the collective consciousness.