In Salva Nebot’s work, the Hands are the ones that physically build the piece – whether carving into wood or layering photographic emulsion. The Head is the observer, the investigator who searches for the hidden and the conceptual depth within the frame. And finally, the Heart is the element that fills the work with emotion, giving a "visual wound" or a "silent shadow" its true meaning.

We live in a time when authenticity is a rare commodity. Brands are forced to appear “real”, often constructing false narratives just to capture a growing demand for meaning. Art, on the other hand, does not need to pretend to be authentic: it is authentic by nature, and those who create it carry a recognizable identity.
This is where the artist comes into play as a generator of symbolic value: not only for the work they create, but for what they represent.

Henrie Vogel is an artist based in the Netherlands who, throughout his life, has developed an  earnest passion for visual arts, and more precisely; the New Materialism movement. The movement embraces  interconnectedness between humans and matter that surrounds us everywhere we go: materials,  objects, the elements, fauna and flora. When connected with people, these non-human entities  play an important role in shaping reality, and this is exactly what is portrayed in Henrie’s art.  

Harry Bartlett Fenney describes the act of creating as a "natural requirement," as essential and unstoppable as any other part of life. His path has taken him from a wartime childhood in England to a renovated ruin in Brittany, where he continues to produce work driven by what he calls The Process.

For Ziqi Yu, the artist and creative director known as Fanfu, art is not a search for harmony - it is a study of impact. To look at his work is to witness a controlled explosion of geometry against a backdrop of absolute stillness. It is a visual language born from the friction of a life split between the ancestral weight of Guangzhou and the individualism of the American West.

From drawing lines in school notebooks to drawing lines on large canvases – all while daring to cross the line. Arco Bruinenberg’s journey is one of healing through color, of feelings, and the power of abstraction. Following a transformative period in 2024, Arco has emerged with a renewed focus on the power of his palette and an intuitive approach to composition. Now an artist and educator, he balances technical precision with a focus on creative liberation. We sat down with Arco to discuss the "creative fire" that fuels his process and the joy of finding new stories within the abstract.

When a few weeks ago I spoke with Brianna Bass, a painter out of Connecticut, one of the first things she asked was, what is it about the way a ribbon of light that gets scattered through a glass of water that we find so beautiful? There is a divine, prismatic phenomenon that people have been drawn to for millenia and at a time when division and contrarianism are emphatically present. How can we allow our attention to be drawn into the magic and serenity of the natural world?

We live in a context of digital saturation: social feeds overflowing with content, advertisements overlapping, messages competing for fragments of attention. In this scenario, visibility is no longer enough. Being present no longer means being perceived. Companies are progressively shifting from a logic of exposure to one of relevance: what counts is not how much you appear, but how much you make a meaningful impact on people’s lives and on society.

Jeanne Maze Churchill, an Anglo-French artist born and raised in London, now lives in the southwest of France, where she devotes herself to working in pastel, oil, and gouache. Her artistic vision has been deeply shaped by the legacy of her grandfather, the Post-Impressionist painter Paul Maze. It is, in fact, his grandfather pastels (carefully preserved since his passing) that Jeanne still uses today to bring her luminous scenes to life.

In an era where consumers are increasingly attentive, informed, and hungry for authenticity, businesses are called to rethink their mission - not only in terms of products or profit, but also in terms of social and cultural impact. It is within this context that art as a cause emerges: a powerful ally in Corporate Social Responsibility (CSR) strategies.

Approaching one of Evelyn Marschall-Gebhard’s works means stepping into an elsewhere, her personal world. A universe shaped by irrational forms, between dream and reality, where colours engage in a constant dialogue through harmony and contrast. Her art is rooted in her own childhood. An only child, she began drawing and painting as a game, sometimes simply as an antidote to boredom. School, too, became a space for experimentation: during boring lessons, she would observe her classmates and teachers and turn them into caricatures, transforming the ordinary into imagination. 

On March 10, 2026, Ambrose Creatives launched UNFIXED, its inaugural digital exhibition dedicated to contemporary abstract painting. Bringing together a curated selection of artists working in abstraction, the exhibition celebrates works that resist closure and certainty, inviting viewers into a space where interpretation remains fluid, relational and perpetually in motion.

Natalia Tykhoniuk’s work exists at the intersection of nature and memory. She creates objects that feel less like "made art" and more like art that made itself - as if the bark, ash, and clay simply decided to settle into these forms. Her practice is less about traditional sculpture and more about a deep, tactile research into how materials carry history. Her surfaces function as records of time.

Giovanni Mercatelli is a young emerging artist based in Bologna, Italy although he can often be found in Key West, USA, where he continues to develop his research and artistic practice. Beginning with drawing, he has developed a distinctive painterly practice grounded in oil, acrylic, and collage on canvas. His works unfold through thick, expressive layers where figuration and abstraction collide, often incorporating cut-out figures drawn from 1960s photography. Glossy surfaces and dense gestures heighten the physicality of the canvas, while irony and melancholy intertwine in scenes poised between intimacy and quiet tension.

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.