He proved that garbage and waste can be material for beauty – it just needs to be viewed under the right angle and in the right light.

For Tim Noble, making is a form of compulsion, which begins with the hand, raw, repetitive, and insistent – and moves forward through friction, error, and endurance. 

Materials are pushed until they break, reshaped until something unexpected surfaces. Scrap, waste, cheap materials – plastic bottles, fragments of wood, whatever is within reach – become the foundation of his sculptures. Nothing is too insignificant to be used, and nothing is fixed in meaning, breaking through a constant tension between accident and control, between what the artist intends and what the material wants to become.

In Anna Fasshauer’s Berlin studio, aluminum is struck, dented, and riveted by hand. Working without assistants or industrial bending machines, the artist shapes each sculpture through direct physical force: the dents remain visible, and the damage becomes the form.

Her brightly colored aluminum structures initially suggest oversized everyday objects: straws, sticks, gigantic, bent barbells, fragments of familiar things. However, their warped geometry and compressed surfaces introduce tension beneath and beyond the playfulness.

Her paintings are close and personal: blurred figures, cropped hands, flowers, fragments of everyday life, feeling both familiar and just out of reach. 

Johanna Bath paints instinctively, building each composition on roughly primed canvases marked with gesso, stains, and traces of earlier gesture, allowing chance, distortion, and blurring to enter the work, reflecting her fascination with memory: how moments fade, shift, and fragment, and how the act of painting can preserve the ephemeral. From small, intimate studies of lips, to larger, collage-like compositions, her work builds the seductive tension between presence and absence.

The pristine white, ceramic foot pendant of a Ukrainian artist Liza Portnova is incredibly beautiful. Yet you instantly feel the pain: as if those sharp needles were piercing your foot, not a miniature porcelain piece of art.

Today we speak with Liza about her jewelry, her sculptures, about her ideas about art and the world today.

Her paintings gather weight slowly, like a body holding tension without knowing when it started. Paint thickens, figures hunch or coil, surfaces soften and resist, looking feels intimate and slightly off-balance.

Working between Guadalajara and Chicago, Julieta Beltrán Lazo moves through geographies the way her figures move through space: alert, transitional, never fully settled. Her practice is rooted in painting, yet it continually presses against its own limits, reaching into fibers, writing, and performance when the questions she is asking outgrow the frame of the canvas. Materials are not chosen for effect – they come through necessity, through the feeling that an idea needs to be touched, knotted, weighed, or worn.

Painting has always negotiated distance: between eye and surface, intention and accident, image and the world that presses in around it. 

In Daniel Karrer’s work, that distance is literalized, polished, and made visible. A thin, barely three-millimetre, sheet of glass intervenes: it separates the spectator from the image, slows down the perception, and discreetly insists that looking is never immediate. 

In Anna Fasshauer’s Berlin studio, aluminum is struck, dented, and riveted by hand. Working without assistants or industrial bending machines, the artist shapes each sculpture through direct physical force: the dents remain visible, and the damage becomes the form.

At just twenty-eight, Alexander (Oleksandr) Kryzhanovskyi has already established himself as one of the most intriguing voices in Ukraine’s contemporary art scene. 

Based in Kyiv, the multidisciplinary artist works across painting, graphics, and sculpture, weaving together fragments of memory, dream, and personal mythology. His paintings, filled with vivid colors, fractured figures, and abstract architectures, feel like scenes glimpsed in a half-remembered dream, at once personal and universal.

She creates photo diaries: wherever she travels, she collects images that become a personal archive of memories. Nina Ivanović, an artist, sculptor, and photographer, travels a lot: through exhibitions, residencies, or with her U10 collective. These photographs form the foundation of her work, a visual memory bank she revisits whenever preparing new projects or exhibitions.

For Nina, walking, roaming, and exploring is an essential part of her creative process. Moving through spaces shifts her perspective and allows her to observe and learn, shaping the way she works.

Elena Alonso bridges technical drawing, architecture, design, and unique craftsmanship. Her work, spanning paintings, sculptures, and site-specific installations, is all about precision while maintaining an organic, tactile quality. 

Through her meticulous and intuitive approach, Elena creates forms that balance structural rigor with sensuality, exploring the intersections between familiarity and strangeness, function and ornament, body and space.