Eric Rugers is an artist based in the Netherlands who spent the majority of his life immersed in the world of commercial design. However, not so long ago, he made the decision to change his life entirely - stepping away from the established path to finally start doing what he loves. Just a few years after that he was recognized by the Museum of Avant-garde and named a finalist for the MA-g Award. We sat down with Eric to discuss his transitions, his obsessions and his curiosities.

In a world saturated with messages, contemporary art emerges as the distinctive language that can elevate a company’s identity, making it memorable, desirable, and culturally relevant

Art, long a mirror of society, has today become a powerful ally for businesses aiming to stand out and create authentic value. Integrating artistic practices into corporate strategy is not a mere aesthetic indulgence nor simply cultural sponsorship: it is a conscious choice of positioning, communication, and innovation.

German artist Tanja Hoffman creates impossible places on her canvases through her experiments with colour; not “impossible” because they are unrealistic, but because they are built with the most intangible bricks: our consciousness. 

These places are made of quasi-organic forms blooming from meticulous layering of vibrant colours. Hoffman insists upon the idea of “meditation” through her Zenpolychromos series, and conveys a fundamental aspect of human experience - the connection or lack thereof between what’s viewed and what’s seen - by inviting the observer to reflect on their own sensory experiences. By creating that which is physically contained yet somehow expands, the spaces Hoffman paints are boundless sources of deeper awareness of being in space and being-in-within. 

“A musician once told me that geometric abstraction is rather like a piece of music. Each note is important for the general harmony but a single note out of place destroys the entire piece.” While many artists seek freedom in the "messiness" of abstraction, Sylvie Hamou seeks the opposite. She approaches the canvas with the technical precision of a linguist and the structural eye of a designer. Her work isn't just a series of shapes, but a quest for a specific kind of equilibrium.

"I paint to share emotions, and when I succeed, I know why I paint." Christine Barth Mroz doesn't follow a map – she follows a feeling. For over 20 years, the Strasbourg-based artist has been refining an internal dialogue, trading formal art education for the raw authenticity of her own palette. By layering light and pigment to capture the rare, precious blues of her Alsace home, Christine transforms the "frantic days" of a working mother into a poetic journey. Whether she is translating the grit of Berlin street art into her piece Ville Folle or capturing the quiet serenity of a stormy sky, her work is a testament to the power of seeing the world through emotion.

How art becomes a strategic infrastructure for brands, beyond the old myth of visibility.

2026 opens with an uncomfortable certainty for many brands: the market is saturated not only with products, but with languages. Everyone speaks, everyone tells stories, everyone promises values. The result is a constant background noise - elegant, often well designed, yet increasingly indistinguishable.

Lahore-based artist Vania Mazhar is part of a new generation of Pakistani painters expanding the language of their medium into experimental forms. With a practice that moves fluidly between painting, installation, video and sculpture, she builds immersive environments that respond to sites, memory and overlooked traces of history. Alongside exhibiting in museums and galleries across Pakistan, Mazhar teaches drawing at the National College of Arts, grounding her explorations in the daily rhythm of mark-making.

As 2026 takes shape, the art world feels less preoccupied with disruption and more attuned to direction. Rather than chasing what’s next, artists, collectors, institutions and audiences are beginning to ask a more grounded question: what kind of art - and what kind of engagement - do we want to live with?

In the restless creative pulse of Addis Ababa, Ethiopian visual artist Estifanos Solomon emerges as a storyteller with intent. Trained in painting and printmaking, his practice navigates a delicate threshold between personal confession and collective reflection, drawing from lived experience to illuminate what society too often leaves in shadow - vulnerability, conflict and care.

Henrique Matos, a director and photographer born in Lisbon in 1996, has spent the past decade quietly reshaping how we perceive the spaces around us. With a background in philosophy and a current Master’s focus on film and the intersection of arts and sciences, Matos brings a cerebral edge to his visual practice. His work resists easy categorization, oscillating between urban landscapes, human subjects and pastoral scenes, yet always returning to a central impulse: to transform non-places into art.

In a practice that gently dissolves the boundaries between self and environment, artist, writer, and curator Damini Yadav invites us into an evolving conversation between the personal and the planetary. Currently based in Milan, Italy, Yadav’s multidisciplinary work, spanning painting, collage, environmental installations, and performance, emerges from a richly layered cultural journey: born in India, raised in Malawi, and shaped by studies in Bangalore and Milan.

At just 21 years old, Tehran-based photographer Mostafa Shahabi has already carved a distinct path through the Iranian visual arts landscape. Born in Ahvaz in 2003, Shahabi’s early life was marked by a rich engagement with multiple forms of creativity: drawing, painting, music, and literature. Yet it was photography and cinema, embraced at the age of sixteen through the Iranian Youth Cinema Society, that ultimately became the vessels for his artistic exploration.

In the ever-evolving landscape of contemporary art and technological design, Ultravioletto studio - represented by Ambrose Creatives - stands out as one of the most perceptive and forward-thinking forces in experimentation and cross-disciplinary contamination. Rooted in a radically multidisciplinary approach, the studio operates within a hybrid space where architecture, installation, storytelling, and interaction converge through emerging technologies and continuously evolving visual languages.