 Kleine weisse Kirche, 2022

Son of dawn, 2022

Ocean, 2015-6

Weiping Song, 2016

Study for a head, 2021-22

Alexander Tinei is a Moldovan artist who has been working and living in Hungary for more than ten years. His works usually begin with photographic material from various media. He then places these figures in a new context. Their bodies are depicted in a unique way, through a set of venous, coloured, stigmatic signs. Details painted with almost anatomical precision are contrasted with often roughly produced abstract surfaces. The artist transplants subjects from digital photos onto canvases as a means of considering the body’s movement through time and space. In addition to symbolic oil paintings, he also creates collages, acrylic paintings, watercolors, graphics, and installations. The main focus of his art is the relationship between time and the human body; surroundings and objects rarely play a significant role. On the other hand, time is presented in its permanence, as bodies removed from their original context (photography and painting) always appear in some strange, somber, dreamlike, timeless space. As Tinei’s artistic expression continued to evolve, piercing tattoos akin to a web of blue veins began to bloom on his muted, dissociative figures. His embrace of artistic expression through muted pigments, detached figures, and cobalt tattoos exemplify Tinei’s breach and deciphering of contemporary art.

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Andrej Dúbravský was born in Nové Zámky, Slovakia in 1987. He now lives and works in Rastislavice, Slovakia, and New York, USA. Inspired by the rural perspective of the organic garden and studio he maintains in countryside of southwest Slovakia, Dúbravský creates depictions of idyllic landscapes, silhouetted skylines of factories, self-portraits, animal portraits, and studies of male figures that confront timely issues of agriculture, industry, politics, identity, and sexuality. His works reflect an “ethical hedonism” and sustain utopian ideals under rather dystopian conditions. The artist’s paintings articulate his reflections in empathetic yet unsparing studies of the environment and its devastation of man and nature. His broad art-historical repertoire is reflected by his most recent works, which explore contemporary versions of classical subjects such as the landscape or the nude—quite seriously and diligently in some instances, with aloof irony in others. The muted colors seem almost conservative until the beholder notes the contemporary and post-traditional context in which the paintings are set.

His work is represented in public collections of the Bratislava City Museum in Bratislava, Slovakia and the Slovak National Gallery in Bratislava, Slovakia. He is currently having a solo exhibition in Berlin in Dittrich & Schlechtriem gallery (on view until 1st July 2023). He has already exhibited in this gallery in the years 2014, 2017 and 2019. His work was also exhibited in USA, Italy, France, Hungary, Serbia or Brazil. DSC Gallery has already presented two of his solo exhibitions - On-line camp in 2015 and Birds and Winds 2 in 2018.

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Untitled, 2026

Straw Bale, 2022

Straw Bale, 2023

Untitled, 2025

BOMMA x Anselm Reyle Tim10, 2026

Molded by the neon-lit punk scene of 1980s Berlin, Anselm Reyle draws inspiration from his immediate surroundings — functionalist architecture of the ever-changing post-war Germany, flea-market found objects, shop-window mannequin glitz — all of which reflect the rapid rise of global capitalism and its cast-off material culture. Though his artwork has been publicly criticized as being 'superficially seductive' or 'uber-kitsch', this is the very intention behind his art: Reyle confesses, ‘I’m interested in riding the border of tastelessness‘. This statement hints at Reyle’s interest in the gap between a decorative object and an artistic artifact, or more simply, the difference between art and product. This relationship is exemplified by Reyle's recent collaboration with the French luxury fashion house, Dior. Reyle's affiliation with today's fashion brands contrasts with his recurrent repudiation of modish, contemporary painting, which he often dismisses as figurative pseudo-Expressionism. Nevertheless, his admiration of painter-photographer Sigmar Polke and visual artist Gerhald Richter is consistent with his desire to explore the role of modernism in lifting artifacts from recent art history. Reyle has exhibited in the finest international galleries, including the prestigious Gagosian Gallery.

Radiant Adventure

THE METAMORPHOSIS

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Untitled, 2024

Bosco Sodi's work spans the continents of Central and North America, Europe and Asia, with studios in Mexico, New York City, Greece and Japan. Each of these destinations is inscribed in his work. Within the traditional categories, the work ranges from raw informel, colorism, art povera and land art. Humility to accept things as they are, appreciating simplicity and accepting imperfections are, in turn, some of the principles of Japanese philosophy, which stand in opposition to the Western ideal of beauty. For example, the desired surface according to wabi-sabi is earthy, imperfect and yet diverse. Bosco's paintings, which are based on the observation of nature, have just such textures. Sabi refers to beauty that can only be achieved through the natural processes inherent in the passage of time. Therefore, patience is the essential element of Sodi's painting. 

Transmutations

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Das sanfte Sich-Anschmiegen der Schuld, 2022

Die Fluchten der Wiederholung, 2021 

Das Lied der Vollendung, 2022

Maschinen voller kleiner Flammen, 2022

I want nothing in return, just the softest little breathless word, I ask of you, 2022

Die Intimität des reinen Verlusts, 2022

Dennis Scholl lives and works in Berlin. He went through an interesting artistic development, gradually moving from monochrome pencil drawing to color on canvas. Scholl first began to carefully introduce color in 2015, initially in the form of chalk or crayon. He slowly made his way from red chalk drawings to pastels to colored pencils, and since 2017 he has fully switched to the oil paint technique. The compositional sophistication of Dennis Scholl’s works offers the possibility to progress through his paintings incrementally, and discover all its hidden corners bit by bit. Scholl proves himself a master-builder of narrative, carefully assembling its fragments into collages. Faces, bodies, plants, and other organic elements, structures, and materials come together to create a cohesive whole. Viewers of Dennis Scholl’s art enter an enigmatic, multilayered world. In this universe created by the artist, the onlooker meets characters that are both strange and funny, gaining insights into their quarrels and romances and becoming a participant or voyeur. Here, hair and tongues become trees and the human plant poses bucolically like a faun amid metamorphic tapestries and meandering landscapes. To approach the works of German artist Dennis Scholl is to engage with the entire circulatory system - not just the human one. It moves beyond the veins of a hypothetical viewer to include the sap of the entire world. Therein lies the most profound aspect of the artist's work: in the visible and invisible connections, the lines that links ones gaze to anothers, in the nebulous energy of the forces of nature. Everything is undulating. Scholl's images flow, even when they tear, even when a severed snake gets caught between the antlers of a deer.

The Song of Inclination

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Rony Plesl - Manhattan Night

Milan Knížák - Eruption

Rony Plesl (*1965, lives and works in Prague, Czech Republic) ranks among top internationally acknowledged artists in the field of glass sculpture. His unique oeuvre emerges from his deep knowledge of quality glassmaking and the technologies he employs in his original designs and primarily in his artistic work. In collaboration with glass professionals, he shifts the perspectives of the possible in the medium of glass both for contemporary art and for his own body of work.

Milan Knížák was born on 19 April 1940 in Pilsen. He lived with his parents in Blovice, where his father, Karel Knížák, worked at the burgher school. In 1945 Karel Knížák went to teach in Mariánské Lázně, where Milan Knížák started to go to school. From 1990 to 1997 he was the rector of the Academy of Fine Arts in Prague, where he headed the Studio of Intermedia Art from 1990 to 2015. From 1999 to 2011 he was the Director General of the National Gallery in Prague. He has organized more than 100 solo exhibitions and participated in hundreds of joint exhibitions almost all over the world. He has published dozens of books and catalogues and several music CDs. His works are represented in many domestic and international collections, e.g.: the Memorial of National Literature, Strahov, Prague, Czech Republic; Stadtgalerie Stuttgart, Germany; Museum Sprengel, Hannover, Germany; Silverman's collection, Michigan, USA Neuberger Museum, N.Y., USA.

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Notions of Loss, 2022

Applebum, 2022

Swing Low, 2022

Pleasure Centre, 2022

Growth and Expansion, 2022 

I Think Of Thee Twine And Bud, 2022 

Fulcrum, 2023

The Thin Membrane Between Us, 2024

Convallaria majalis (Lily of the Valley), 2024

She Has The Shape of My Hands, 2024

Ladies Lunching, 2024

The Space Between Us, 2023

Stretched Out On Your Shadow, 2024

Through Our Lust, We Hope, We Seek To Die And Live Forever 2024

There Is No Gate, No Lock, No Bolt That You Can Set Upon The Freedom Of My Mind, 2024

Lamprocapnos (Bleeding Heart), 2024

From The Sweet, Deep Throat Of The Night Flower, 2022

With Your Mouth As A Pillow, 2024

Helen Beard (b. 1971, Birmingham, UK) studied at Bournemouth and Poole College of Art and Design and went on to have a fifteen year career as an assistant art director in the film industry. During this time, Helen continued with her artistic practice, working in the diverse mediums of paint, collage and needlepoint. Her work vibrates with movement and colour in a celebration of the erotic experience. Using a vibrant palette and an ever changing framework: from close-crops to wide shots, to create a landscape of intimacy. She portrays sexuality in raw and bold canvases. All without fail filled with expression, colour, an acute sense of framing, and an unmistakable interplay between abstraction and realism. “I do love the abstraction I get from a very zoomed in point of view where the forms and the colours are indistinguishable and quite powerful.” Beard says. Her paintings are a textural fusion between form and colour, utilising sinuous brush strokes in a motion akin to stroking skin.
She has exhibited in numerous group shows, including ‘True Colours’ (2018) at Newport Street Gallery. Solo shows include ‘It’s Her Factory’ (2019) at Unit London and ‘The Desire Path’ (2020) and ‘The Tulips are Too Excitable, It Is Winter Here’ (2023) at Reflex Amsterdam. Helen’s work has also been translated into a series of silkscreen prints, produced with UNIT Drops, Reflex Amsterdam and Paul Stolper Gallery.

Topography of desire

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Triangle Kings

Maher Island

Double Kafka Gulf

Double Kafka

The Father

Kafka, the Self

Unknown

Johan Tahon (b. Menen, Belgium, 1965) did not become a sculptor. He has always been a sculptor and always will be. For him, sculpture is like breathing. From a young age, he had already discovered that objects lent a lightness to the darkness of existence. Pain was his driving force, and yet each of the sculptures created by his hands afforded him a glimpse of the beauty of rebirth. Tahon was immediately hooked, went on to study sculpture at the Royal Academy of Fine Arts (KASK) in Ghent, and was a player in the international art arena before the age of thirty. Since then, he has been journeying constantly in order never to arrive. He lives and works in Belgium and Switzerland. 
Restless and filled with longing for the inexpressible, Johan Tahon explores the boundaries of the great unknown. Trusting in his material, technique and skill, he goes in search of the nothing that is at once everything in a manner that is as fearless as it is stubborn. Of a present that is also past and future. And of the silence that speaks volumes. Over the past few decades, Tahon has breathed life into an impressive sequence of mysterious bronze, plaster and ceramic sculptures: injured giants and unapproachable angels, tormented creatures and modest monks, sensual nudes and amorphous hybrids. All of these – whether they fit into the palm of a hand or reach up to a monumental height – float between the earth and the heavens. 

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Kür führt, 2023

glaubt taut, 2023

Ihr Sicht, 2023

sei bei Leib, 2023

Sinner, 2023

schlich sich, 2023

Stirn sticht, 2023

Beitier, 2023

Born in Berlin, the German artist has been working in his birthplace since the dawn of his career. He is a descendant of Hans-Joachim Burgert’s family. Jonas Burgert graduated from the Berlin Academy of Fine Arts in 1996 and continued to study for the postgraduate title under Professor Dieter Hacker therein. Afterwards, he travelled to Egypt for a study journey. Since 1998, he has displayed his art at multiple group exhibitions around the world. In 2003 he attended the painting biennale in Stockholm. Burgert marked a great success when Christoph Heinrich, then Director of Hamburger Kunsthalle, bought his painting for a large state collection. Burgert showcased his art at the exhibition Geschichtenerzähler organised by this institution in 2003. Shortly thereafter, he displayed his works in Saatchi Gallery in London (2006). A gamut of his solo exhibitions in several institutions was launched then: Kunsthalle Tübingen (2010), Kunsthalle Krems (2011), Kestnergesellschaft in Hannover (2013), and the University of Denver, USA. In 2019, Burgert exhibited in the gallery me Collectors Room Berlin together with Ernst Ludwig Kirchner and Gerhard Richter, and the same year again when his works were placed alongside Jake & Dinos Chapman, George Condo, and Francisco de Goya. Thomas Olbricht included Jonas Burgert’s works in his collection shortly after the artist was brought into public notice. His greatest exhibition was held in Long Museum West Bund in Shanghai. Paintings by Burgert are today in many public collections, including Burger Collection in Hong Kong, Denver Art Museum in the USA, Rubell Family Art Collection in the USA, and Taguchi Art Collection in Japan. Burgert has been ranked among the 1,000 best artists in Germany.


Jonas Burgert - Stirn sticht 

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Defector, 2022

Contestant I, 2019 - 2022

Contestant II, 2021

Contestant III, 2022

Moon, 2019 - 2021

Guru IV, 2022

Justin Mortimer's paintings invite us to question the relationship between form and content, beauty and horror, figuration and abstraction. This is because Mortimer’s paintings mirror a world in disorder, reflecting the social and political upheaval that is a staple of contemporary, international news agendas. His oil paintings often push the boundaries of figuration, landscape, and abstraction, plunging into the darkness of existential themes. The artist’s attentiveness to disorder was catalyzed by a newspaper article that delineated the atrocities of the ongoing Bosnian War, which reminded Mortimer of human fragility and the lingering possibility of societal collapse. Overwhelmed by a shroud of fear, Mortimer became committed to utilizing his emotions as instruments in creating his paintings. The artist has clarified that his work does not reference particular events, but is instead meant to evoke sentiments that transcend cultural difference. From his tortured narratives, Mortimer extracts imagery depicting despair, hope, and a peculiar conception of 'beauty'. This beauty is in perpetual decay: bodies are disjointed, space is fragmented, and reality is perplexingly enigmatic. Not only is this symbolic of one's evolving perception of a contemporary world culled by a deluge of print and digital information, but it further suggests the ways in which the fabric of society is increasingly warped. Justin Mortimer has a number of important portrait commissions behind him - he painted well-known public figures including Queen Elizabeth II., David Bowie, and Harold Pinter.

Kammer

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Take off time, 2022

Boot with snake, 2022

Day mission, 2022

Hand with snake, 2022

Still life with balls, 2022

Self-portrait with balls, 2022

Ace in the hole, 2022

Vase I, 2021

Laura Limbourg finished her studies at the Academy of Fine Arts in Prague only last year. Her paintings often feature motifs based on her hobbies, such as tennis and airplanes. Another recurring motif is prostitutes, more akin to sex slaves. Laura Limbourg has been focusing on this topic since she saw first-hand the extent of the sex business in Southeast Asia during her travels there. Her work underlines the severity and widespread nature of prostitution, sex tourism and the abuse of women (not only) on the Asian continent. Her paintings also feature other motifs based on her travels to exotic countries – plants and animals from the jungle, religious and cult statues, elements of Japanese historical painting, and vases inspired by old porcelain. She draws a lot of inspiration from her travels in Asia, having visited Cambodia, the Philippines, Taiwan, and more. Recently, she has started creating concrete vases on which she airbrush sprays her motifs. She recently spent several months in New York, which is also reflected in her current work. 

Laura Limbourg knows how to work quickly, above all persistently, because her paintings must not be allowed to dry completely while she is working in order to achieve her trademark the blurred effect. She uses watercolors on canvas in her work. The artist can’t change anything if she makes a mistake. Most of the time, she dives right into her work without making preliminary sketches beforehand.

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The Kingdom of Twilight, 2023

Per Aspera ad Astra, 2021

Keeper of the Gates, 2021

The Origins of Wonder, 2021

I see red, 2022

Medusa, the Decay of Sentiment, 2021

Medusa - I‘ll be your mirror, 2021

The Siren, 2021

The Curse, 2022

Where Everything makes Sense, 2023

Supernatural, 2023

The safe Heaven of the Unknown, 2023

Disappearance, 2023

Lonesome Place of Wonder, 2023

Rise and Shine, 2023

The Hell of Gates, 2023

Where all Rivers unite, 2023

Every Shadow has a Light, 2023

The Raft of Time, 2023

The Fountain of ..., 2023

The Calling from another Side, 2023

Permanent Blue, 2023

The Magic of Silence, 2023

Drowning in Youth, 2023

Ocean of Possibilities, 2023

The last Time I saw You, 2023

Transition, 2023

Martin Eder, one of the most widely recognized contemporary German painters, is also a sculptor, photographer, musician, performance artist and even a hypnotist. By integrating surrealist and post-modern, erotic motifs, Eder challenges established perceptions of beauty, thus undermining the globalized status quo of Anglo-Saxon pop culture. Eder gravitates towards the liminal: the intersection of piety and profanity, vulgarity and chastity, reality and fantasy. For Eder, postmodern psychedelic aesthetics are just as inspirational as religious hagiographies; surrealist motifs are just as evoking as pagan iconography; Albert Durer is as equally stirring as Hieronymus Bosch. A student of hypnosis and the occult, Eder mines the unconscious for the erotic and the kitsch, integrating realistic depictions of beauty and unreal brutality within a single painting. Eder continues to explore other modes of expression beyond painting as depicted by his hypnotic performance 'Mentale Physik und die Strahlen Luzifers' (2017) and the drone-doom, black metal band 'RUIN'. Eder's art has been sought by artists, private collectors, and institutions, most notably world-renowned artist Damien Hirst and the Museum of Modern Art in New York City.

The Unreal

The Fountain of Youth

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Enigma To A Sick World

Untitled

Death Of A Moth

Moonfall

On one hand, David Wesihaar, with his painting, ventures into a territory—be it a phantasmagoric city or a magical and dark forest—where color is not just an aesthetic element but a vehicle to communicate the ineffable. His paintings create atmospheres that are as intimate as they are spectral, where darkness is not absence but matter. The palette is dominated by deep greens, cool blues, and shaded blacks, evoking the legacy of Gothic aesthetics and Romantic melancholy. The portrayed figures—often isolated or introspective—appear suspended in time, inhabiting spaces marked by rituals, silences, and tensions. His works are interior landscapes, boundless spaces, fluid dimensions where thought blends with matter and time seems lyrically suspended. Wesihaar's painting is never static: his brushes do not merely trace perimeter lines but embrace the oscillations and vibrations of the human mind. Each work is an inquiry into the concept of space, the intangible geometric constellation that shapes our experiences, as well as a reflection on the sensation of standing at the edge of an infinite horizon that becomes a reverberation of itself. 

On the other hand, marble and alabaster—the focal points of this new cycle of works by Matouš Háša—are not merely materials but true vehicles of tactile investigation and interaction. The artist's work draws inspiration from Renaissance and Baroque art, often tapping into themes rooted in Christian iconography. His aim is to provocatively reinterpret these classical motifs through a contemporary lens, so that the central element of his works acquires extraordinary fluidity, thanks to a visual transformation that continually suggests infinite possible organic metamorphoses, as well as the most visceral and profound evolutions of our thought. 

Boundless Echoes

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Asa Nisi Masa V, Alles jetzt erreichen / Reaching all now

Der letzte Tango in Thule, Rue Jules Verne IV / The Last Tango in Thule, Rue Jules Verne IV, 2020 

Der letzte Tango in Thule, Rue Jules Verne VI / The Last Tango in Thule, Rue Jules Verne VI, 2020 

Zirrostrat Lichtschranke/ Zirrostrat Photoelectric Barrier, 2019 

Michael Kunze was born in 1961 in Munich, and currently lives and works in Berlin. He studied Philosophy at the Ludwig-Maximilian-University and painting at the Academy of Arts in Munich, and has been exhibited internationally since 1989. Kunze is represented by COMA in Berlin, Nicolas Krupp in Basel, and Thomas Rehbein in Cologne. His works have also been auctioned by the British auction house Sotheby's. Recognized as one of the most iconic German painters, in 2013 Michael Kunze was honored with a major retrospective at the Kunsthalle Dusseldorf, where works spanning over the past two decades were exhibited alongside a major publication. Earlier this year the artist was a recipient of the prestigious Hans-Platschek Prize in Karlsruhe, Germany. His works can be found in numerous public and private collections like the Nationalgalerie in Berlin, MMK museum in Frankfurt and the Goetz collection in Munich. Kunze is more recognisably a painter in terms of his technique, which involves traditional oil paints often applied thickly and quite dryly to engender an aged, impastoed appearance. His work reveals influences of Biblical tales, stories and symbols from the classical mythology of  Ancient Greece, complex visions from the world of cinema, and narratives from science fiction.

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Do the deceased want to live on other planets, 2015

Memory is Over, 2014

Landscape on top of Landscape, 2015

The Cowboys are breaking the Ice, 2015

The Huge Spiral of DNA erected in the West Siberia in the Year 3021, 2014

The Huge Monument “Return to the Sun” will be erected in the desert Gobi in the Year 2088, 2015

Pavel Pepperstein was born from an artistically inclined family. His mother, Irina Pivovarov, was a poet and author of children's literature. His father, Russian painter Viktor Pivovarov, contributed to the founding of the Moscow Conceptualist Movement in the 1970s. In 1985, Pepperstein pursued his own artistic inclinations at the Academy of Fine Arts in Prague before launching Inspection Medical Hermeneutics, an experimental artist’s coalition that utilized installations and the performing arts as instruments in commenting on the anxieties surrounding the opening Soviet Union. Inspection Medical Hermeneutics‘ commentary on political conditions foreshadowed Pepperstein‘s propensity to remark on political and cultural discourse within his paintings. Though Pepperstein‘s “psychedelic realist” scenery features bright water colors and outwardly cartoonish characters, his pieces emote an ominous tone. Within the confines of a single painting, Pepperstein marries child-like illustrations, political motifs, and menacing tones to uncover the distrust that strangles our “political reality”. The artist’s cynicism extends beyond political reality to encompass the gallery industry which he considers to be another corporate system. Regardless of his unwavering critiques, Pavel Pepperstein is acknowledged as a valued creator of the international art scene, with institutions and collectors alike seeking to claim ownership to his analytical works.

Pepperstein‘s artwork combines recognizable cultural images with witty commentary. His works feature allusions to surrealism, Malevich's Suprematist model, Eastern watercolour, pop art, book illustration and political cartoons. During his artistic career Pepperstein has had more than 100 solo exhibitions in Russia and abroad. His major exhibition projects include a presentation at the 53rd Venice Biennale in the Russian Pavilion with the installation Landscapes of the Future. In 2014, he was personally invited by the renowned curator Kasper König to present his work at Manifesta 10. In the same year, he was awarded the Kandinsky Prize. Pepperstein's works have been exhibited in museums and galleries around the world, including the Louvre in Paris. His paintings, drawings and installations can also be seen in the State Tretyakov Gallery in Moscow, the State Russian Museum in St. Petersburg, the Centre Pompidou in Paris, the Deutsche Bank collection, Kunsthalle Düsseldorf, the Garage Museum of Contemporary Art in Moscow, as well as in the collection of Roman Abramovich, one of the world's richest men, and other private collections around the world. The fashion house Louis Vuitton collaborated with him for their Travel Book Series project to illustrate the Prague guidebooks with his unique drawings.

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Zimní kabát, 2022

Zimní ráno, 2022

Stařík a jeho budoucnost, 2022

Stěna, 2022

Pohled sochy, 2022

Nakládané okurky, 2022

Viktor Pivovarov, born 1937 in Moscow, is a Russian artist living in Prague. He moved from Moscow in 1982 and continues to live there to date. V. Pivovarov along with Ilya Kabakov, Erik Bulatov, and Irina Nakhova, was one of the leading artists of the Moscow Conceptualist artistic movement of the 1970s. His work reflected the complete ideologization of the Soviet lifestyle, often simultaneously expressing criticism and nostalgia for this lifestyle. His works consciously with the overlapping of various pictorial levels and the introduction of unexpected perspectives. Storytelling and allegory have remained central to his paintings, drawings, collages and albums to this day and lead the viewer into a surrealist cosmos. Within this universe, conventional ways of seeing, mass media visual culture and the icons of Western and post-Soviet educational canons are called into question by means of irony and distortion. The Russian tradition of icon painting, allusions to the art of Kazimir Malevich and Western figures such as Giorgio de Chirico and René Magritte play a central role in Pivovarov’s art, as well as Russian myths, songs and legends.

His works belong to several institutional collections, including the Tate, London; Kupferstichkabinett, Berlin; Centre Pompidou, Musée National d’Art Moderne, Paris; Pushkin State Museum of Fine Arts, Moscow and the State Russian Museum, St Petersburg, National Gallery, Prague.

White Mirrors 

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A Second Before The Miracle, 2025

The Silence Between The Moves, 2025

Clavis Interior, 2025

Vladimir Kartashov (born 1997, Novosibirsk, Siberia) is a contemporary artist whose work responds powerfully to the challenges of the digital age. His paintings combine realism, surrealism, magical realism, symbolism, and existential inquiry, exploring the complexity of modern identity and emotional experience.
Kartashov believes that concepts are best expressed visually. His compositions balance precision and imagination, blending detailed realism with symbolic and surreal elements. Using a rich, vibrant palette and thick layers of paint, he creates tactile, almost sculptural surfaces that evoke intense emotional atmospheres.
Influenced by iconography, mythology, collective memory, and dream imagery, Kartashov’s work navigates the boundary between the real and the imaginary. His paintings are rich in symbolism and metaphysical reflection, inviting viewers into worlds where everyday reality opens toward hidden meanings and deeper perception. 
Kartashov’s solo exhibition at The Church of San Clemente in San Clemente Island in Venice, Italy will be on view from May 6, 2026.

A SECOND BEFORE THE MIRACLE

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Slobodan

Untitled (Sylvie For Ever)

Dual Möbius Quad Corpus 01

Möbius Corpus Outside (1:2)

L'Etincelle Divine Rorschach

Wim Delvoye’s artistic practice presents a dynamic panorama of multidisciplinary exploration, seamlessly merging the sacred with the profane. His works—spanning drawings, sculptures, installations and other artistic techniques —are infused with gothic drama and cutting-edge technology, creating a unique dialogue between historical grandeur and contemporary innovation.

Wim Delvoye

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Foreign