Memory has an elusive nature and an ever-changing shape. Once lived, it can never be retrieved as a linear recollection. Embracing the fading of memory and transforming it into intuitive artistic practices, means allowing your subconscious self to translate the hazy, fluid memories into colors, shapes, and textures that give space for abstraction to become a language for remembering what can no longer be seen. Grace Fung is a mixed media artist based in the UK exploring how intuitive painting can function as a visual archive, contributing to a growing movement of artists whose artistic style approaches memory and emotions through abstraction. 

There is something comforting about reducing the world to its simplest forms that resonates today even stronger than it did a thousand years ago. This is the thought that echoes through the art of Gil Zablodovsky—a multidisciplinary artist whose practice moves fluidly between photography, video, sound, and installation.  Working with simple forms and everyday materials, he reduces them to their essential qualities, creating precise, restrained works where color, space, light, sound, and matter become interconnected. 

In her multidisciplinary practice, Sabrina Tirvengadum explores the intersections of memory, colonial histories and contemporary systems of representation. Working across photography, collage, digital painting, film, graphic design and generative AI, the artist transforms personal and collective archives into spaces of investigation and speculation. Through works such as If We Were Marrier d’Unienville, which revisits her Mauritian family history and the legacies of Indian indentureship, Tirvengadum examines how race, class and belonging are shaped by the histories that are preserved—and those that have been erased.

Gabriel Castillo’s “In the Heart of Solitude” series portrays a journey through our desperate need for connection and the endless walls we meet. He draws an individual human figure, who’s almost imperceptible at first sight in some images; the colours are the real protagonist of those pictures. They even seem to contradict each other, as the person is still while the colours surrounding it and the forms they create are in undeniable movement — it is the I, surrounded by the incredible power of the Other.

"The colour before it has found its name. The trace of something forming, shifting and unfolding." That's how Callum Harrison describes Emergence, and the words could just as easily describe his entire practice. Layers build slowly across the surface, each one only partially concealing what came before, so the photography seems to hold its own history within it; there is a patience to the way the work unfolds, nothing forced into clarity, nothing rushed toward resolution. What emerges instead is a kind of attention: to the way colour behaves before it settles, to the small, unrepeatable moments that occur only once, mid-process, and are gone the instant the eye tries to hold them. 

What happens when contemporary art is approached not as a closed language, but as a space in which to meet? Through Galerienne Art Club Brussels, Lucie Noliwé Sanou is building a more social and embodied way of encountering art — one shaped by gallery tours, studio visits, and conversations that continue over coffee. In this interview, she reflects on the psychological and linguistic barriers that still surround contemporary art, the possibilities and limitations of commercial galleries, and the role cultural initiatives can play in nurturing community, curiosity, and new ways of seeing.

Colour is applied to it with a quick and intuitive gesture that, by now, knows where to build it up to create weight, and where instead to lay it in loose fields of colour to open the work to lightness. There isn’t any direction already set up, but only the urgency to manifest an impulse that still has no form. Then the artist rotates the canvas, thereby changing its original perception, with the aim of forcing the gaze to abandon its previous points of reference, and seek a new path toward a surface that is layered and hierarchically composed. It is now possible to start painting and to give free rein to creativity. This is the creative process of contemporary abstract painter Anna Rolskaya. It is a search for completeness that lingers in uncertainty for as long as possible, until something true emerges.

Throughout art history, some of the most iconic works have emerged from the depths of psychological suffering. Vincent Van Gogh, Edvard Munch, Yayoi Kusama… they all teach us that art is somehow an antidote to pain. Tora Kizu is a young Japanese artist, born in Okayama in 2008. At the age of 17, he developed depression and began creating art as a form of self-expression. Just two weeks after starting, his work was selected for Japan’s largest open-call exhibition. 

"I think of image-making and memory as fundamentally spatial - an active space you enter," says Salla Aida. Her work began in traditional, representational photography. Not anymore. Now it lives in the space between the machine and the handmade. She photographs industrial waste and digitizes watercolors, then deconstructs and rebuilds them on the computer - using custom digital brushes that translate the feel of paint, of grain, of tactility. The result isn't quite photography. It isn't quite painting. It's something else - partly photograph, partly paint, partly code, built not to capture a moment but to reconstruct one. 

We are so conditioned to look at an image and immediately know what it means. Carey Coleman’s work is a deliberate refusal of that habit. By ripping up their own archives, collaging photographic shards, and channeling raw emotion into action painting, she builds spaces that resist easy categorization. Their abstraction is a quiet rebellion against the binary. Here, we talk about the spiritual weight of their process, their earliest artistic memories, and the self-sustaining, endlessly recycled ecosystem that birthed Both And (Icy Hot).

Have you ever tried to tame the sun? But that's rather cruel isn't it? What about befriending the sun? What about using it's beams as a tool? Samantha Buchanan builds her art around something you can’t actually touch. Using cut fiberglass mesh and negative space, her geometric pieces are never really static. They shift and react depending on where you stand and what time of day it is. We talked about the complexities of perception, the fluidity of colour, and what it actually means to collaborate with the environment.

Connection with ancestral heritage and with nature, exploration of collective memory and of the interaction between the self and the wider world: these are the threads running through Geneva Arystan’s practice, which is deeply rooted in spirituality. A Kazakh-born artist based in London, Arystan explores the relationship between spirituality, collective memory, and nature – and how the self is connected to these and other invisible forces that drive everything – through mixed-media works that combine different materials and visual elements, including crystals, colours, and even text.

There is a common belief that becoming an artist requires following a clear and linear path, much like pursuing a profession such as law or medicine. Yet art rarely emerges from a predetermined route. Instead, it takes shape through experiences, detours, reconsiderations, and constant transformation. It is a language that develops over time, through experimentation and changes of direction. Margherita Marzari, a young Italian artist born in Trento, embodies this kind of journey.

What happens when photography no longer represents the world, but instead records the conditions of its own becoming? Marta Djourina's practice begins where the camera recedes. Working directly with analogue photographic paper, light, movement, and chemistry, she treats photography less as a medium of depiction than as a site of material encounter. Light is not simply what makes images possible — it becomes their subject, their agent, and their residue.

What is a photograph when you remove the camera? For Paris-based, Lisbon-born visual artist Mariana Romão, it isn’t a departure from the medium - it is a return to its absolute essence. Romão approaches the photographic process not as passive documentation, but as a calculated performance. Whether she is navigating the high-speed choreography of live runways or executing raw chemical movements in the pitch black of her studio, her practice relies on a deep understanding of staging, timing, and presence. 

In an era in which the boundaries between culture, economics, and branding are becoming increasingly blurred, more and more companies are recognizing art as a driver of corporate value rather than a mere image-building tool. Today, art - through collaborations with artists, creative residencies, corporate collections, art licensing, installations, and cultural events - is an integral part of business strategies, intersecting with processes of innovation, perceived value creation, and competitive positioning. It is no longer about decorating a space or supporting an isolated event, but about carving a company’s identity into the very culture in which it operates.

Sebastian Ścigalski spent years in advertising, where every visual element has a job to do. His painting practice is a direct counterpoint to that. Debuting his work in 2025 after years of keeping it private, Ścigalski has found a visual language that prioritizes feeling over meaning. Here is our conversation on the life of an artwork outside the studio, his transition from art direction, and the power of a quiet mind.

Every layer in Sahaya Sharma’s work is a chosen reality. Working with upcycled textiles, mixed media, and immersive soundscapes, she builds visual manifestos designed to evoke reverence and inner stillness. Informed by an early spiritual awakening and her practice of Pranic Healing, her art is simultaneously deeply personal and universal. We talked with Sharma to discuss the evolution of her abstraction, the profound impact of her son on her worldview, and the intricate creative process behind her art

Mallika Kanodia’s soft pastels invite viewers to closely examine the horizons. Trained in interior architecture at the Rhode Island School of Design, she blends her structural expertise with a deep exploration of color and emotion. Returning to the easel, she shifted her focus to visual art. Furthermore, her personal experience with constant movement between cities brings a distinct, dynamic edge to her work.

One of the most intriguing aspects of the unknown resides within ourselves, though: that which the brain cannot conceive but that depends on it to be. The expression of this foggy area is one of the driving forces behind the work of multidisciplinary artist Dorota Čechová, who ambitiously and beautifully conceived a quasi-encyclopedic book of visualizations of different forms of synesthesia. We discussed her work “Syn(a)esthesis: Harmony of the senses,” in which, through the lens of her own experiences and scientific research, she proposes a range of artistic explorations of new ways to experience our senses.