Illustrator/artist living in Sapporo, Japan. Born in 1986 as the grandson of a temple in Esashi, Hokkaido, she soon moved to Sapporo.After graduating from Hokkaido Zokei Design College, she worked as an illustrator and now mainly creates tableaus, including showing her work at art fairs overseas.

She named my style [VENUS EYE] for the influence of growing up in a female family with a mother and an aunt, and for the way of life of a woman, which she thinks as a mother with children herself. And the heat of the traditional festival in Esashi town, Hokkaido, which she had been exposed to since her childhood, the longing for the sea, the goddess-like existence that watches over the human world from the heavenly world because she is the grandson of a temple, but the world where the beauty of the real world is mixed with the creative air of unreality that women who are living in the real world exist [Heavenly World girl].

In recent years, she has created a virtual artist named “MOMOKO” as her avatar, and has been developing character ideas that seem to exist in the real world.

She put desire to support women's freedom of choice into paintings.
Her artwork is based on the realistic environment of being a mother, a woman and an artist.

Illustrator/artist living in Sapporo, Japan. Born in 1986 as the grandson of a temple in Esashi, Hokkaido, she soon moved to Sapporo.After graduating from Hokkaido Zokei Design College, she worked as an illustrator and now mainly creates tableaus, including showing her work at art fairs overseas.

She named my style [VENUS EYE] for the influence of growing up in a female family with a mother and an aunt, and for the way of life of a woman, which she thinks as a mother with children herself. And the heat of the traditional festival in Esashi town, Hokkaido, which she had been exposed to since her childhood, the longing for the sea, the goddess-like existence that watches over the human world from the heavenly world because she is the grandson of a temple, but the world where the beauty of the real world is mixed with the creative air of unreality that women who are living in the real world exist [Heavenly World girl].

In recent years, she has created a virtual artist named “MOMOKO” as her avatar, and has been developing character ideas that seem to exist in the real world.

She put desire to support women's freedom of choice into paintings.
Her artwork is based on the realistic environment of being a mother, a woman and an artist.

Illustrator/artist living in Sapporo, Japan. Born in 1986 as the grandson of a temple in Esashi, Hokkaido, she soon moved to Sapporo.After graduating from Hokkaido Zokei Design College, she worked as an illustrator and now mainly creates tableaus, including showing her work at art fairs overseas.

She named my style [VENUS EYE] for the influence of growing up in a female family with a mother and an aunt, and for the way of life of a woman, which she thinks as a mother with children herself. And the heat of the traditional festival in Esashi town, Hokkaido, which she had been exposed to since her childhood, the longing for the sea, the goddess-like existence that watches over the human world from the heavenly world because she is the grandson of a temple, but the world where the beauty of the real world is mixed with the creative air of unreality that women who are living in the real world exist [Heavenly World girl].

In recent years, she has created a virtual artist named “MOMOKO” as her avatar, and has been developing character ideas that seem to exist in the real world.

She put desire to support women's freedom of choice into paintings.
Her artwork is based on the realistic environment of being a mother, a woman and an artist.

Born in 1974 in Sapporo, Baku Maeda graduated from the Economics Department of Hokkai-Gakuen University. In 2005, he became an independent freelance illustrator. In 2003, he joined the Japan-London 8-member illustration group "GOBACK2D."

He incorporates broader, more conceptual thinking into his illustration work, whether in two-dimensional or three-dimensional forms. In recent years, he has focused on ribbon art through "Ribbonesia," giving new life to inorganic paper figures through techniques such as bending and twisting.

Born in 1974 in Sapporo, Baku Maeda graduated from the Economics Department of Hokkai-Gakuen University. In 2005, he became an independent freelance illustrator. In 2003, he joined the Japan-London 8-member illustration group "GOBACK2D."

He incorporates broader, more conceptual thinking into his illustration work, whether in two-dimensional or three-dimensional forms. In recent years, he has focused on ribbon art through "Ribbonesia," giving new life to inorganic paper figures through techniques such as bending and twisting.

Born in 1974 in Sapporo, Baku Maeda graduated from the Economics Department of Hokkai-Gakuen University. In 2005, he became an independent freelance illustrator. In 2003, he joined the Japan-London 8-member illustration group "GOBACK2D."

He incorporates broader, more conceptual thinking into his illustration work, whether in two-dimensional or three-dimensional forms. In recent years, he has focused on ribbon art through "Ribbonesia," giving new life to inorganic paper figures through techniques such as bending and twisting.

Over the past few decades, Mr. Yoshida has created over 10,000 pieces of artwork, and each one is significant to him. From small items like belts to large sculptures exceeding two meters in height, Mr. Yoshida's works span a wide range. Despite the large quantity, he values each piece, dedicating careful craftsmanship to every creation.
Visually, Yoshida's sculptures appear ethereal and light, resembling porcelain, yet surprisingly, they are carved from solid wood. His works defy the heaviness often associated with traditional woodcarving, each exuding its own unique aura. Mr. Yoshida insists on using wood from Hokkaido for his creations, imparting a vibrant and lively quality to his pieces.
In recent years, Mr. Yoshida's artistic themes have predominantly featured animals, serving as a record of the artist's daily thoughts and reflections, akin to a spiritual diary. Through anthropomorphism, the artist seeks to express the universality of human experiences through the depiction of animals' emotions. Upon closer observation, one may notice that the eyes of the animals are usually closed, providing viewers with a sense of tranquility and sacred security. Interestingly, the artist crafts a cute poem for each piece, adding a charming layer to the artworks' expressions.

Over the past few decades, Mr. Yoshida has created over 10,000 pieces of artwork, and each one is significant to him. From small items like belts to large sculptures exceeding two meters in height, Mr. Yoshida's works span a wide range. Despite the large quantity, he values each piece, dedicating careful craftsmanship to every creation.
Visually, Yoshida's sculptures appear ethereal and light, resembling porcelain, yet surprisingly, they are carved from solid wood. His works defy the heaviness often associated with traditional woodcarving, each exuding its own unique aura. Mr. Yoshida insists on using wood from Hokkaido for his creations, imparting a vibrant and lively quality to his pieces.
In recent years, Mr. Yoshida's artistic themes have predominantly featured animals, serving as a record of the artist's daily thoughts and reflections, akin to a spiritual diary. Through anthropomorphism, the artist seeks to express the universality of human experiences through the depiction of animals' emotions. Upon closer observation, one may notice that the eyes of the animals are usually closed, providing viewers with a sense of tranquility and sacred security. Interestingly, the artist crafts a cute poem for each piece, adding a charming layer to the artworks' expressions.

Over the past few decades, Mr. Yoshida has created over 10,000 pieces of artwork, and each one is significant to him. From small items like belts to large sculptures exceeding two meters in height, Mr. Yoshida's works span a wide range. Despite the large quantity, he values each piece, dedicating careful craftsmanship to every creation.
Visually, Yoshida's sculptures appear ethereal and light, resembling porcelain, yet surprisingly, they are carved from solid wood. His works defy the heaviness often associated with traditional woodcarving, each exuding its own unique aura. Mr. Yoshida insists on using wood from Hokkaido for his creations, imparting a vibrant and lively quality to his pieces.
In recent years, Mr. Yoshida's artistic themes have predominantly featured animals, serving as a record of the artist's daily thoughts and reflections, akin to a spiritual diary. Through anthropomorphism, the artist seeks to express the universality of human experiences through the depiction of animals' emotions. Upon closer observation, one may notice that the eyes of the animals are usually closed, providing viewers with a sense of tranquility and sacred security. Interestingly, the artist crafts a cute poem for each piece, adding a charming layer to the artworks' expressions.

Over the past few decades, Mr. Yoshida has created over 10,000 pieces of artwork, and each one is significant to him. From small items like belts to large sculptures exceeding two meters in height, Mr. Yoshida's works span a wide range. Despite the large quantity, he values each piece, dedicating careful craftsmanship to every creation.
Visually, Yoshida's sculptures appear ethereal and light, resembling porcelain, yet surprisingly, they are carved from solid wood. His works defy the heaviness often associated with traditional woodcarving, each exuding its own unique aura. Mr. Yoshida insists on using wood from Hokkaido for his creations, imparting a vibrant and lively quality to his pieces.
In recent years, Mr. Yoshida's artistic themes have predominantly featured animals, serving as a record of the artist's daily thoughts and reflections, akin to a spiritual diary. Through anthropomorphism, the artist seeks to express the universality of human experiences through the depiction of animals' emotions. Upon closer observation, one may notice that the eyes of the animals are usually closed, providing viewers with a sense of tranquility and sacred security. Interestingly, the artist crafts a cute poem for each piece, adding a charming layer to the artworks' expressions.

Over the past few decades, Mr. Yoshida has created over 10,000 pieces of artwork, and each one is significant to him. From small items like belts to large sculptures exceeding two meters in height, Mr. Yoshida's works span a wide range. Despite the large quantity, he values each piece, dedicating careful craftsmanship to every creation.
Visually, Yoshida's sculptures appear ethereal and light, resembling porcelain, yet surprisingly, they are carved from solid wood. His works defy the heaviness often associated with traditional woodcarving, each exuding its own unique aura. Mr. Yoshida insists on using wood from Hokkaido for his creations, imparting a vibrant and lively quality to his pieces.
In recent years, Mr. Yoshida's artistic themes have predominantly featured animals, serving as a record of the artist's daily thoughts and reflections, akin to a spiritual diary. Through anthropomorphism, the artist seeks to express the universality of human experiences through the depiction of animals' emotions. Upon closer observation, one may notice that the eyes of the animals are usually closed, providing viewers with a sense of tranquility and sacred security. Interestingly, the artist crafts a cute poem for each piece, adding a charming layer to the artworks' expressions.

Over the past few decades, Mr. Yoshida has created over 10,000 pieces of artwork, and each one is significant to him. From small items like belts to large sculptures exceeding two meters in height, Mr. Yoshida's works span a wide range. Despite the large quantity, he values each piece, dedicating careful craftsmanship to every creation.
Visually, Yoshida's sculptures appear ethereal and light, resembling porcelain, yet surprisingly, they are carved from solid wood. His works defy the heaviness often associated with traditional woodcarving, each exuding its own unique aura. Mr. Yoshida insists on using wood from Hokkaido for his creations, imparting a vibrant and lively quality to his pieces.
In recent years, Mr. Yoshida's artistic themes have predominantly featured animals, serving as a record of the artist's daily thoughts and reflections, akin to a spiritual diary. Through anthropomorphism, the artist seeks to express the universality of human experiences through the depiction of animals' emotions. Upon closer observation, one may notice that the eyes of the animals are usually closed, providing viewers with a sense of tranquility and sacred security. Interestingly, the artist crafts a cute poem for each piece, adding a charming layer to the artworks' expressions.

Over the past few decades, Mr. Yoshida has created over 10,000 pieces of artwork, and each one is significant to him. From small items like belts to large sculptures exceeding two meters in height, Mr. Yoshida's works span a wide range. Despite the large quantity, he values each piece, dedicating careful craftsmanship to every creation.
Visually, Yoshida's sculptures appear ethereal and light, resembling porcelain, yet surprisingly, they are carved from solid wood. His works defy the heaviness often associated with traditional woodcarving, each exuding its own unique aura. Mr. Yoshida insists on using wood from Hokkaido for his creations, imparting a vibrant and lively quality to his pieces.
In recent years, Mr. Yoshida's artistic themes have predominantly featured animals, serving as a record of the artist's daily thoughts and reflections, akin to a spiritual diary. Through anthropomorphism, the artist seeks to express the universality of human experiences through the depiction of animals' emotions. Upon closer observation, one may notice that the eyes of the animals are usually closed, providing viewers with a sense of tranquility and sacred security. Interestingly, the artist crafts a cute poem for each piece, adding a charming layer to the artworks' expressions.

Over the past few decades, Mr. Yoshida has created over 10,000 pieces of artwork, and each one is significant to him. From small items like belts to large sculptures exceeding two meters in height, Mr. Yoshida's works span a wide range. Despite the large quantity, he values each piece, dedicating careful craftsmanship to every creation.
Visually, Yoshida's sculptures appear ethereal and light, resembling porcelain, yet surprisingly, they are carved from solid wood. His works defy the heaviness often associated with traditional woodcarving, each exuding its own unique aura. Mr. Yoshida insists on using wood from Hokkaido for his creations, imparting a vibrant and lively quality to his pieces.
In recent years, Mr. Yoshida's artistic themes have predominantly featured animals, serving as a record of the artist's daily thoughts and reflections, akin to a spiritual diary. Through anthropomorphism, the artist seeks to express the universality of human experiences through the depiction of animals' emotions. Upon closer observation, one may notice that the eyes of the animals are usually closed, providing viewers with a sense of tranquility and sacred security. Interestingly, the artist crafts a cute poem for each piece, adding a charming layer to the artworks' expressions.

Over the past few decades, Mr. Yoshida has created over 10,000 pieces of artwork, and each one is significant to him. From small items like belts to large sculptures exceeding two meters in height, Mr. Yoshida's works span a wide range. Despite the large quantity, he values each piece, dedicating careful craftsmanship to every creation.
Visually, Yoshida's sculptures appear ethereal and light, resembling porcelain, yet surprisingly, they are carved from solid wood. His works defy the heaviness often associated with traditional woodcarving, each exuding its own unique aura. Mr. Yoshida insists on using wood from Hokkaido for his creations, imparting a vibrant and lively quality to his pieces.
In recent years, Mr. Yoshida's artistic themes have predominantly featured animals, serving as a record of the artist's daily thoughts and reflections, akin to a spiritual diary. Through anthropomorphism, the artist seeks to express the universality of human experiences through the depiction of animals' emotions. Upon closer observation, one may notice that the eyes of the animals are usually closed, providing viewers with a sense of tranquility and sacred security. Interestingly, the artist crafts a cute poem for each piece, adding a charming layer to the artworks' expressions.

Over the past few decades, Mr. Yoshida has created over 10,000 pieces of artwork, and each one is significant to him. From small items like belts to large sculptures exceeding two meters in height, Mr. Yoshida's works span a wide range. Despite the large quantity, he values each piece, dedicating careful craftsmanship to every creation.
Visually, Yoshida's sculptures appear ethereal and light, resembling porcelain, yet surprisingly, they are carved from solid wood. His works defy the heaviness often associated with traditional woodcarving, each exuding its own unique aura. Mr. Yoshida insists on using wood from Hokkaido for his creations, imparting a vibrant and lively quality to his pieces.
In recent years, Mr. Yoshida's artistic themes have predominantly featured animals, serving as a record of the artist's daily thoughts and reflections, akin to a spiritual diary. Through anthropomorphism, the artist seeks to express the universality of human experiences through the depiction of animals' emotions. Upon closer observation, one may notice that the eyes of the animals are usually closed, providing viewers with a sense of tranquility and sacred security. Interestingly, the artist crafts a cute poem for each piece, adding a charming layer to the artworks' expressions.

Born in 1975 in Italy, Fabio uses the traditional yet classical medium of marble to reflect on contemporary thoughts and behaviors. Standing from the perspective of art history, particularly Italian sculpture history, he explores how past classical works construct and continue to influence symbols of human beliefs and ideals. His profound carving skills allow the hard medium of marble to precisely showcase everyday objects and figures, resembling the texture of paper, rubber, or tattooed skin.

Within Fabio's works coexist two different visual cultures: the aesthetic and flawless spirit of Western art history, and the traditional Japanese art of tattooing. However, the artist intentionally treats the material of the sculpture as if it were foam, using this texture and deliberately introducing flaws to shape the sculpture's unreality. This not only evokes associations with highly commercialized religious icons but also satirizes commodity worship under Marxism. Moreover, his precise handling of details and materials is the best interpretation of the powerful symbols and the recontextualization of everyday objects. The subtle appropriation and orchestration of the resulting ironic meaning make these sculptures truly unique and thought-provoking.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Spanish artist Moisés Yagües' style is simple, clear, fresh, and harmonious. His works predominantly feature round-headed characters, and within the large heads, various objects such as ladders, flowers, and steel cables are hidden, as if exploring the ever-changing inner world of individuals. Upon closer inspection, embroidery can also be discovered in his works. In terms of artistic style, Moisés is influenced by illustrators such as Saul Steinberg, Tomi Ungerer, Isidro Ferrer, and artists like Jean-Michel Basquiat and Keith Haring. His creative style presents a very free form of artistic expression, reminiscent of the way children create.

The theme of large heads serves as a platform for pictorial narratives and also conceals the actual ideas and inspirations behind his storytelling. Moisés Yagües enjoys presenting interesting little stories, showcasing characters immersed in their own thoughts and environments, as he believes external images are visible, but the inner thoughts of individuals are not. Therefore, he uses his artwork to reveal the true thoughts within people, primarily exploring relationships between individuals and the processes in different stages of life. Elements such as ladders, stairs, and steel cables often appear in his works, symbolizing the differences and distances that need to be overcome in relationships between people.

Due to his unique narrative language, his works display various styles, sometimes appearing delicate and at other times powerful, critical yet entertaining. Nevertheless, his works are always filled with poetic, elegant, and dynamic qualities.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Spanish artist Moisés Yagües' style is simple, clear, fresh, and harmonious. His works predominantly feature round-headed characters, and within the large heads, various objects such as ladders, flowers, and steel cables are hidden, as if exploring the ever-changing inner world of individuals. Upon closer inspection, embroidery can also be discovered in his works. In terms of artistic style, Moisés is influenced by illustrators such as Saul Steinberg, Tomi Ungerer, Isidro Ferrer, and artists like Jean-Michel Basquiat and Keith Haring. His creative style presents a very free form of artistic expression, reminiscent of the way children create.

The theme of large heads serves as a platform for pictorial narratives and also conceals the actual ideas and inspirations behind his storytelling. Moisés Yagües enjoys presenting interesting little stories, showcasing characters immersed in their own thoughts and environments, as he believes external images are visible, but the inner thoughts of individuals are not. Therefore, he uses his artwork to reveal the true thoughts within people, primarily exploring relationships between individuals and the processes in different stages of life. Elements such as ladders, stairs, and steel cables often appear in his works, symbolizing the differences and distances that need to be overcome in relationships between people.

Due to his unique narrative language, his works display various styles, sometimes appearing delicate and at other times powerful, critical yet entertaining. Nevertheless, his works are always filled with poetic, elegant, and dynamic qualities.

Spanish artist Moisés Yagües' style is simple, clear, fresh, and harmonious. His works predominantly feature round-headed characters, and within the large heads, various objects such as ladders, flowers, and steel cables are hidden, as if exploring the ever-changing inner world of individuals. Upon closer inspection, embroidery can also be discovered in his works. In terms of artistic style, Moisés is influenced by illustrators such as Saul Steinberg, Tomi Ungerer, Isidro Ferrer, and artists like Jean-Michel Basquiat and Keith Haring. His creative style presents a very free form of artistic expression, reminiscent of the way children create.

The theme of large heads serves as a platform for pictorial narratives and also conceals the actual ideas and inspirations behind his storytelling. Moisés Yagües enjoys presenting interesting little stories, showcasing characters immersed in their own thoughts and environments, as he believes external images are visible, but the inner thoughts of individuals are not. Therefore, he uses his artwork to reveal the true thoughts within people, primarily exploring relationships between individuals and the processes in different stages of life. Elements such as ladders, stairs, and steel cables often appear in his works, symbolizing the differences and distances that need to be overcome in relationships between people.

Due to his unique narrative language, his works display various styles, sometimes appearing delicate and at other times powerful, critical yet entertaining. Nevertheless, his works are always filled with poetic, elegant, and dynamic qualities.

Spanish artist Moisés Yagües' style is simple, clear, fresh, and harmonious. His works predominantly feature round-headed characters, and within the large heads, various objects such as ladders, flowers, and steel cables are hidden, as if exploring the ever-changing inner world of individuals. Upon closer inspection, embroidery can also be discovered in his works. In terms of artistic style, Moisés is influenced by illustrators such as Saul Steinberg, Tomi Ungerer, Isidro Ferrer, and artists like Jean-Michel Basquiat and Keith Haring. His creative style presents a very free form of artistic expression, reminiscent of the way children create.

The theme of large heads serves as a platform for pictorial narratives and also conceals the actual ideas and inspirations behind his storytelling. Moisés Yagües enjoys presenting interesting little stories, showcasing characters immersed in their own thoughts and environments, as he believes external images are visible, but the inner thoughts of individuals are not. Therefore, he uses his artwork to reveal the true thoughts within people, primarily exploring relationships between individuals and the processes in different stages of life. Elements such as ladders, stairs, and steel cables often appear in his works, symbolizing the differences and distances that need to be overcome in relationships between people.

Due to his unique narrative language, his works display various styles, sometimes appearing delicate and at other times powerful, critical yet entertaining. Nevertheless, his works are always filled with poetic, elegant, and dynamic qualities.

Spanish artist Moisés Yagües' style is simple, clear, fresh, and harmonious. His works predominantly feature round-headed characters, and within the large heads, various objects such as ladders, flowers, and steel cables are hidden, as if exploring the ever-changing inner world of individuals. Upon closer inspection, embroidery can also be discovered in his works. In terms of artistic style, Moisés is influenced by illustrators such as Saul Steinberg, Tomi Ungerer, Isidro Ferrer, and artists like Jean-Michel Basquiat and Keith Haring. His creative style presents a very free form of artistic expression, reminiscent of the way children create.

The theme of large heads serves as a platform for pictorial narratives and also conceals the actual ideas and inspirations behind his storytelling. Moisés Yagües enjoys presenting interesting little stories, showcasing characters immersed in their own thoughts and environments, as he believes external images are visible, but the inner thoughts of individuals are not. Therefore, he uses his artwork to reveal the true thoughts within people, primarily exploring relationships between individuals and the processes in different stages of life. Elements such as ladders, stairs, and steel cables often appear in his works, symbolizing the differences and distances that need to be overcome in relationships between people.

Due to his unique narrative language, his works display various styles, sometimes appearing delicate and at other times powerful, critical yet entertaining. Nevertheless, his works are always filled with poetic, elegant, and dynamic qualities.

Spanish artist Moisés Yagües' style is simple, clear, fresh, and harmonious. His works predominantly feature round-headed characters, and within the large heads, various objects such as ladders, flowers, and steel cables are hidden, as if exploring the ever-changing inner world of individuals. Upon closer inspection, embroidery can also be discovered in his works. In terms of artistic style, Moisés is influenced by illustrators such as Saul Steinberg, Tomi Ungerer, Isidro Ferrer, and artists like Jean-Michel Basquiat and Keith Haring. His creative style presents a very free form of artistic expression, reminiscent of the way children create.

The theme of large heads serves as a platform for pictorial narratives and also conceals the actual ideas and inspirations behind his storytelling. Moisés Yagües enjoys presenting interesting little stories, showcasing characters immersed in their own thoughts and environments, as he believes external images are visible, but the inner thoughts of individuals are not. Therefore, he uses his artwork to reveal the true thoughts within people, primarily exploring relationships between individuals and the processes in different stages of life. Elements such as ladders, stairs, and steel cables often appear in his works, symbolizing the differences and distances that need to be overcome in relationships between people.

Due to his unique narrative language, his works display various styles, sometimes appearing delicate and at other times powerful, critical yet entertaining. Nevertheless, his works are always filled with poetic, elegant, and dynamic qualities.

Spanish artist Moisés Yagües' style is simple, clear, fresh, and harmonious. His works predominantly feature round-headed characters, and within the large heads, various objects such as ladders, flowers, and steel cables are hidden, as if exploring the ever-changing inner world of individuals. Upon closer inspection, embroidery can also be discovered in his works. In terms of artistic style, Moisés is influenced by illustrators such as Saul Steinberg, Tomi Ungerer, Isidro Ferrer, and artists like Jean-Michel Basquiat and Keith Haring. His creative style presents a very free form of artistic expression, reminiscent of the way children create.

The theme of large heads serves as a platform for pictorial narratives and also conceals the actual ideas and inspirations behind his storytelling. Moisés Yagües enjoys presenting interesting little stories, showcasing characters immersed in their own thoughts and environments, as he believes external images are visible, but the inner thoughts of individuals are not. Therefore, he uses his artwork to reveal the true thoughts within people, primarily exploring relationships between individuals and the processes in different stages of life. Elements such as ladders, stairs, and steel cables often appear in his works, symbolizing the differences and distances that need to be overcome in relationships between people.

Due to his unique narrative language, his works display various styles, sometimes appearing delicate and at other times powerful, critical yet entertaining. Nevertheless, his works are always filled with poetic, elegant, and dynamic qualities.

Spanish artist Moisés Yagües' style is simple, clear, fresh, and harmonious. His works predominantly feature round-headed characters, and within the large heads, various objects such as ladders, flowers, and steel cables are hidden, as if exploring the ever-changing inner world of individuals. Upon closer inspection, embroidery can also be discovered in his works. In terms of artistic style, Moisés is influenced by illustrators such as Saul Steinberg, Tomi Ungerer, Isidro Ferrer, and artists like Jean-Michel Basquiat and Keith Haring. His creative style presents a very free form of artistic expression, reminiscent of the way children create.

The theme of large heads serves as a platform for pictorial narratives and also conceals the actual ideas and inspirations behind his storytelling. Moisés Yagües enjoys presenting interesting little stories, showcasing characters immersed in their own thoughts and environments, as he believes external images are visible, but the inner thoughts of individuals are not. Therefore, he uses his artwork to reveal the true thoughts within people, primarily exploring relationships between individuals and the processes in different stages of life. Elements such as ladders, stairs, and steel cables often appear in his works, symbolizing the differences and distances that need to be overcome in relationships between people.

Due to his unique narrative language, his works display various styles, sometimes appearing delicate and at other times powerful, critical yet entertaining. Nevertheless, his works are always filled with poetic, elegant, and dynamic qualities.

Spanish artist Moisés Yagües' style is simple, clear, fresh, and harmonious. His works predominantly feature round-headed characters, and within the large heads, various objects such as ladders, flowers, and steel cables are hidden, as if exploring the ever-changing inner world of individuals. Upon closer inspection, embroidery can also be discovered in his works. In terms of artistic style, Moisés is influenced by illustrators such as Saul Steinberg, Tomi Ungerer, Isidro Ferrer, and artists like Jean-Michel Basquiat and Keith Haring. His creative style presents a very free form of artistic expression, reminiscent of the way children create.

The theme of large heads serves as a platform for pictorial narratives and also conceals the actual ideas and inspirations behind his storytelling. Moisés Yagües enjoys presenting interesting little stories, showcasing characters immersed in their own thoughts and environments, as he believes external images are visible, but the inner thoughts of individuals are not. Therefore, he uses his artwork to reveal the true thoughts within people, primarily exploring relationships between individuals and the processes in different stages of life. Elements such as ladders, stairs, and steel cables often appear in his works, symbolizing the differences and distances that need to be overcome in relationships between people.

Due to his unique narrative language, his works display various styles, sometimes appearing delicate and at other times powerful, critical yet entertaining. Nevertheless, his works are always filled with poetic, elegant, and dynamic qualities.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Luigi Franchi, also known as Zino, was born in 1973 in Italy, Talamo. During the 90s, he studied art history at the University of Bologna, where he graduated with a thesis on Francis Bacon. He began participating in research within the contemporary art world, collaborating with some artists from Rome. In 2013, he fully dedicated himself to his art career, and his passion for contemporary art quickly emerged, leading to exhibitions in various public institutions, galleries, and art fairs.

From consumerism to globalization, pop culture to youth fashion, his involvement and interest in contemporary society characterize his creative process and distinctive features, considered as a category that utilizes diverse media. Materials often include LEGO bricks, PVC balls, 3D printing, and elements from non-art environments. His works focus on the study of image distortion as popular media icons, establishing a transformation of meaning in those images. Objects and people, when filtered through the internet or television, accumulate new and different meanings primarily through the "pixelization" of images. These images are precisely replicated on paper, but modifications are made to a part of their surface using LEGO bricks, causing a kind of computerized magnification that disrupts the understanding of the object. This disruption doesn't hinder its correct interpretation but marks an invisible line between realization and complete transformation.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Luigi Franchi, also known as Zino, was born in 1973 in Italy, Talamo. During the 90s, he studied art history at the University of Bologna, where he graduated with a thesis on Francis Bacon. He began participating in research within the contemporary art world, collaborating with some artists from Rome. In 2013, he fully dedicated himself to his art career, and his passion for contemporary art quickly emerged, leading to exhibitions in various public institutions, galleries, and art fairs.

From consumerism to globalization, pop culture to youth fashion, his involvement and interest in contemporary society characterize his creative process and distinctive features, considered as a category that utilizes diverse media. Materials often include LEGO bricks, PVC balls, 3D printing, and elements from non-art environments. His works focus on the study of image distortion as popular media icons, establishing a transformation of meaning in those images. Objects and people, when filtered through the internet or television, accumulate new and different meanings primarily through the "pixelization" of images. These images are precisely replicated on paper, but modifications are made to a part of their surface using LEGO bricks, causing a kind of computerized magnification that disrupts the understanding of the object. This disruption doesn't hinder its correct interpretation but marks an invisible line between realization and complete transformation.

Katharina Arndt is a Contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder.
She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical. Fast, reduced, almost childlike, motifs and medium ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt. She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist's livelihood in her young age in the East side of Germany, back when there wasn't any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

Luigi Franchi, also known as Zino, was born in 1973 in Italy, Talamo. During the 90s, he studied art history at the University of Bologna, where he graduated with a thesis on Francis Bacon. He began participating in research within the contemporary art world, collaborating with some artists from Rome. In 2013, he fully dedicated himself to his art career, and his passion for contemporary art quickly emerged, leading to exhibitions in various public institutions, galleries, and art fairs.

From consumerism to globalization, pop culture to youth fashion, his involvement and interest in contemporary society characterize his creative process and distinctive features, considered as a category that utilizes diverse media. Materials often include LEGO bricks, PVC balls, 3D printing, and elements from non-art environments. His works focus on the study of image distortion as popular media icons, establishing a transformation of meaning in those images. Objects and people, when filtered through the internet or television, accumulate new and different meanings primarily through the "pixelization" of images. These images are precisely replicated on paper, but modifications are made to a part of their surface using LEGO bricks, causing a kind of computerized magnification that disrupts the understanding of the object. This disruption doesn't hinder its correct interpretation but marks an invisible line between realization and complete transformation.

Contemporary artist Shih Siao-Mo was born in 1972 in Kaohsiung, Taiwan, and currently resides in Taipei. She has dedicated herself to creating large-scale abstract paintings with a focus on the- matic issues. Proficient in portraying linear dy- namics and reshaping multiple structures from the interdisciplinary perspective of science, her works delve deeply into philosophical, psycholog- ical, sociological, scientific, medical, and geologi- cal themes. She conducts comprehensive and profound explorations of these subjects, integrat- ing creativity with academic research.

A longstanding central theme in her work is the exploration of human "consciousness," reflecting her interdisciplinary artistic vision influenced by mentor Wu Mali, particularly emphasizing social observation and the human aesthetic in ecological system evolution. Her creative endeavors tightly link human consciousness, social phenomena, and material culture through ongoing exploration.

Contemporary artist Shih Siao-Mo was born in 1972 in Kaohsiung, Taiwan, and currently resides in Taipei. She has dedicated herself to creating large-scale abstract paintings with a focus on the- matic issues. Proficient in portraying linear dy- namics and reshaping multiple structures from the interdisciplinary perspective of science, her works delve deeply into philosophical, psycholog- ical, sociological, scientific, medical, and geologi- cal themes. She conducts comprehensive and profound explorations of these subjects, integrat- ing creativity with academic research.

A longstanding central theme in her work is the exploration of human "consciousness," reflecting her interdisciplinary artistic vision influenced by mentor Wu Mali, particularly emphasizing social observation and the human aesthetic in ecological system evolution. Her creative endeavors tightly link human consciousness, social phenomena, and material culture through ongoing exploration.

Contemporary artist Shih Siao-Mo was born in 1972 in Kaohsiung, Taiwan, and currently resides in Taipei. She has dedicated herself to creating large-scale abstract paintings with a focus on the- matic issues. Proficient in portraying linear dy- namics and reshaping multiple structures from the interdisciplinary perspective of science, her works delve deeply into philosophical, psycholog- ical, sociological, scientific, medical, and geologi- cal themes. She conducts comprehensive and profound explorations of these subjects, integrat- ing creativity with academic research.

A longstanding central theme in her work is the exploration of human "consciousness," reflecting her interdisciplinary artistic vision influenced by mentor Wu Mali, particularly emphasizing social observation and the human aesthetic in ecological system evolution. Her creative endeavors tightly link human consciousness, social phenomena, and material culture through ongoing exploration.

Contemporary artist Shih Siao-Mo was born in 1972 in Kaohsiung, Taiwan, and currently resides in Taipei. She has dedicated herself to creating large-scale abstract paintings with a focus on the- matic issues. Proficient in portraying linear dy- namics and reshaping multiple structures from the interdisciplinary perspective of science, her works delve deeply into philosophical, psycholog- ical, sociological, scientific, medical, and geologi- cal themes. She conducts comprehensive and profound explorations of these subjects, integrat- ing creativity with academic research.

A longstanding central theme in her work is the exploration of human "consciousness," reflecting her interdisciplinary artistic vision influenced by mentor Wu Mali, particularly emphasizing social observation and the human aesthetic in ecological system evolution. Her creative endeavors tightly link human consciousness, social phenomena, and material culture through ongoing exploration.

Contemporary artist Shih Siao-Mo was born in 1972 in Kaohsiung, Taiwan, and currently resides in Taipei. She has dedicated herself to creating large-scale abstract paintings with a focus on the- matic issues. Proficient in portraying linear dy- namics and reshaping multiple structures from the interdisciplinary perspective of science, her works delve deeply into philosophical, psycholog- ical, sociological, scientific, medical, and geologi- cal themes. She conducts comprehensive and profound explorations of these subjects, integrat- ing creativity with academic research.

A longstanding central theme in her work is the exploration of human "consciousness," reflecting her interdisciplinary artistic vision influenced by mentor Wu Mali, particularly emphasizing social observation and the human aesthetic in ecological system evolution. Her creative endeavors tightly link human consciousness, social phenomena, and material culture through ongoing exploration.

Contemporary artist Shih Siao-Mo was born in 1972 in Kaohsiung, Taiwan, and currently resides in Taipei. She has dedicated herself to creating large-scale abstract paintings with a focus on the- matic issues. Proficient in portraying linear dy- namics and reshaping multiple structures from the interdisciplinary perspective of science, her works delve deeply into philosophical, psycholog- ical, sociological, scientific, medical, and geologi- cal themes. She conducts comprehensive and profound explorations of these subjects, integrat- ing creativity with academic research.

A longstanding central theme in her work is the exploration of human "consciousness," reflecting her interdisciplinary artistic vision influenced by mentor Wu Mali, particularly emphasizing social observation and the human aesthetic in ecological system evolution. Her creative endeavors tightly link human consciousness, social phenomena, and material culture through ongoing exploration.

Contemporary artist Shih Siao-Mo was born in 1972 in Kaohsiung, Taiwan, and currently resides in Taipei. She has dedicated herself to creating large-scale abstract paintings with a focus on the- matic issues. Proficient in portraying linear dy- namics and reshaping multiple structures from the interdisciplinary perspective of science, her works delve deeply into philosophical, psycholog- ical, sociological, scientific, medical, and geologi- cal themes. She conducts comprehensive and profound explorations of these subjects, integrat- ing creativity with academic research.

A longstanding central theme in her work is the exploration of human "consciousness," reflecting her interdisciplinary artistic vision influenced by mentor Wu Mali, particularly emphasizing social observation and the human aesthetic in ecological system evolution. Her creative endeavors tightly link human consciousness, social phenomena, and material culture through ongoing exploration.

Daniele Oldani was born in 1979 in Milan, Italy. He first encountered painting at the age of 14 when he accidentally entered the world of graffiti and art. Since then, he became deeply immersed in the creative realm, embarking on a self-taught artistic journey. One distinctive feature in Daniele's artwork is "mirror writing," where he randomly writes text in the opposite direction, creating a mirrored effect of normal text. This technique is commonly seen in modern applications, such as the word "AMBULANCE" on the front of ambulances, often written in large mirrored letters for drivers to read correctly in their rearview mirrors.
Daniele's works can be displayed alongside mirrors to reveal the correct orientation of the text, adding an element of intrigue to the presentation. Mirror writing is sometimes considered an extremely primitive form of code, allowing viewers to continuously interpret the text in the artwork and uncover clues left by the artist. One of the most famous practitioners of mirror writing in history is Leonardo da Vinci, as the majority of his manuscripts were written in this mirrored fashion.

Daniele Oldani was born in 1979 in Milan, Italy. He first encountered painting at the age of 14 when he accidentally entered the world of graffiti and art. Since then, he became deeply immersed in the creative realm, embarking on a self-taught artistic journey. One distinctive feature in Daniele's artwork is "mirror writing," where he randomly writes text in the opposite direction, creating a mirrored effect of normal text. This technique is commonly seen in modern applications, such as the word "AMBULANCE" on the front of ambulances, often written in large mirrored letters for drivers to read correctly in their rearview mirrors.
Daniele's works can be displayed alongside mirrors to reveal the correct orientation of the text, adding an element of intrigue to the presentation. Mirror writing is sometimes considered an extremely primitive form of code, allowing viewers to continuously interpret the text in the artwork and uncover clues left by the artist. One of the most famous practitioners of mirror writing in history is Leonardo da Vinci, as the majority of his manuscripts were written in this mirrored fashion.

Daniele Oldani was born in 1979 in Milan, Italy. He first encountered painting at the age of 14 when he accidentally entered the world of graffiti and art. Since then, he became deeply immersed in the creative realm, embarking on a self-taught artistic journey. One distinctive feature in Daniele's artwork is "mirror writing," where he randomly writes text in the opposite direction, creating a mirrored effect of normal text. This technique is commonly seen in modern applications, such as the word "AMBULANCE" on the front of ambulances, often written in large mirrored letters for drivers to read correctly in their rearview mirrors.
Daniele's works can be displayed alongside mirrors to reveal the correct orientation of the text, adding an element of intrigue to the presentation. Mirror writing is sometimes considered an extremely primitive form of code, allowing viewers to continuously interpret the text in the artwork and uncover clues left by the artist. One of the most famous practitioners of mirror writing in history is Leonardo da Vinci, as the majority of his manuscripts were written in this mirrored fashion.

Edoardo Cialfi studied at the Alpinolo Magnini Academy of Art and then obtained a First Class Academic Diploma in Painting and Visual Arts at the LABA in Florence. Currently studying a two-year specialization in Art-Cultural Mediation in Painting Studio Direction at the Academy of Fine Arts in Verona.

His art started in 2008, when he started using the aerosol medium. In an academic setting, however, he decided to move his research away from walls to more traditional flat surfaces such as canvas, wood or cardboard. He began working on a reinterpretation of archetypal pictorial languages, especially the genre of landscape painting, but maintaining a strong connection to his origins, creating his aerosol works. In the works presented this time, on the one hand, the urban countryside shrouded in smog is printed on canvas with spray cans and oil paint; on the other hand, the tangible and three-dimensional structure is between photography and sculpture.

His reinterpretation of landscapes is more than an aesthetic manipulation. He tried to use two fields to express two different concepts: fog and storm. Fog is the medium through which he attempts to represent the isolation and insecurity that characterizes contemporary man. Storm, on the other hand, is his means of trying to express the concept of nature as a threat, an autonomous, impartial entity capable of loathing human existence, and these landscapes are the domains of his birth and life.

Edoardo Cialfi studied at the Alpinolo Magnini Academy of Art and then obtained a First Class Academic Diploma in Painting and Visual Arts at the LABA in Florence. Currently studying a two-year specialization in Art-Cultural Mediation in Painting Studio Direction at the Academy of Fine Arts in Verona.

His art started in 2008, when he started using the aerosol medium. In an academic setting, however, he decided to move his research away from walls to more traditional flat surfaces such as canvas, wood or cardboard. He began working on a reinterpretation of archetypal pictorial languages, especially the genre of landscape painting, but maintaining a strong connection to his origins, creating his aerosol works. In the works presented this time, on the one hand, the urban countryside shrouded in smog is printed on canvas with spray cans and oil paint; on the other hand, the tangible and three-dimensional structure is between photography and sculpture.

His reinterpretation of landscapes is more than an aesthetic manipulation. He tried to use two fields to express two different concepts: fog and storm. Fog is the medium through which he attempts to represent the isolation and insecurity that characterizes contemporary man. Storm, on the other hand, is his means of trying to express the concept of nature as a threat, an autonomous, impartial entity capable of loathing human existence, and these landscapes are the domains of his birth and life.

Edoardo Cialfi studied at the Alpinolo Magnini Academy of Art and then obtained a First Class Academic Diploma in Painting and Visual Arts at the LABA in Florence. Currently studying a two-year specialization in Art-Cultural Mediation in Painting Studio Direction at the Academy of Fine Arts in Verona.

His art started in 2008, when he started using the aerosol medium. In an academic setting, however, he decided to move his research away from walls to more traditional flat surfaces such as canvas, wood or cardboard. He began working on a reinterpretation of archetypal pictorial languages, especially the genre of landscape painting, but maintaining a strong connection to his origins, creating his aerosol works. In the works presented this time, on the one hand, the urban countryside shrouded in smog is printed on canvas with spray cans and oil paint; on the other hand, the tangible and three-dimensional structure is between photography and sculpture.

His reinterpretation of landscapes is more than an aesthetic manipulation. He tried to use two fields to express two different concepts: fog and storm. Fog is the medium through which he attempts to represent the isolation and insecurity that characterizes contemporary man. Storm, on the other hand, is his means of trying to express the concept of nature as a threat, an autonomous, impartial entity capable of loathing human existence, and these landscapes are the domains of his birth and life.