Artists HAAM3
Learn all about your favorite artists of the third edition of HAAM the Hamburg Artists Art Market.
A
Abraxas Akanho
I make observant postironic paintings that formulate critical arguments from historicised symbolisms. I continue to be fascinated by fictions of nature, class and body; particularly through the lens of country pursuits and equestrianism.
Achim Saar
Achim Saar is currently devoting himself to different materials and how they can be combined.
Wood, metal, bronze, glass, ceramics, etc. are some of the materials he has already worked with.
But the topics are also important, in this case he is trying to bring together different things that don’t really belong together.
Wood, metal, bronze, glass, ceramics, etc. are some of the materials he has already worked with.
But the topics are also important, in this case he is trying to bring together different things that don’t really belong together.
Agnese Kurzemniece
Through her distinctive figurative acrylic paintings, Latvian artist Agnese Kurzemniece explores the intricate threads connecting human nature to the essence of home. Her art illuminates the evolving, symbiotic relationship between women and the natural world, often finding profound metaphorical significance within the landscapes she depicts.
Aleksandra Kononchenko
Aleksandra is a multidisciplinary artist working across drawing, installation, video, and participatory performance. Originally from Belarus and currently based in Berlin, her practice explores memory, rituals, silence, and collective storytelling. She often collaborates with local communities.
Her recent projects include participatory workshops, public installations, and performative rituals that deal with themes like voice, absence, and care. She is particularly interested in traditional symbols and objects, such as masks, ex-votos, or altars, and how they can be reimagined in contemporary social contexts. Her work has been shown in exhibitions, festivals, and community spaces across Europe. She believes in art as a gentle but powerful way to connect, listen, and heal.
alexander azukar
My work comes from street art but has mutated into the world of galleries, sharing a space with famous find art or conceptual art artists.
Alexandra Liakhavets
Hi, I’m Alexandra, a 28-year-old artist from Belarus, currently working between Dessau/Berlin. I work mainly with gouache and textiles to explore everyday experiences that are emotional, strange, or quietly unsettling—often shaped by our relationship or connection to screens and digital life.
With a background in fashion design, I pay close attention to bodies, clothing, and patterns, using distortion and repetition as expressive tools. I keep my practice fully non-digital, as a way to stay present and physically connected to my work.
Alexandra Oracz
Alexandra is a Berlin-based visual artist whose work explores the fluid nature of identity, emotional depth, and the unseen architecture of the inner self. Through surreal and abstract imagery, often combining human faces with organic forms, she gives visual shape to internal states that are typically hidden or felt rather than seen.
Soft gradients and melancholic tones create a dreamlike atmosphere where tension exists between clarity and confusion, presence and absence.
Alvine Bautra
Alvine Bautra (b.1990) is a Latvian contemporary painter. The portrait painting compositions embody the feeling of movement in slow motion. The zooming on the faces or the seemingly calm figures are never frozen because the state of peace is utopian.
The figures dance within themselves, allowing the movement of the soul, giving themselves to a peculiar trance when revelation occurs unconsciously. Currently works and lives in Riga, Latvia.
Amanda Andersen
I work primarily with acrylic paint on canvas, incorporating elements of collage. My art reflects my personal experiences and the chaotic, abstract nature of life, navigating the space between the abstract and the figurative. I aim to balance minimal compositions with bold, high-contrast patterns and vibrant colors.
Inspired by the rigid lines of Agnes Martin and the organic forms of Eva Hesse, I am drawn to the interplay between the fluid shapes found in nature and clean, precise geometry. This tension reflects my need to impose rhythm and order amidst disorder, turning initial messiness into cohesive compositions where every element finds its place.
AME DGD
AME.DGD. ART (*1995) lives and works as a multidisciplinary artist in Berlin. The artist’s works invite viewers to make the invisible visible: emotions, relationships, and the role of the individual in modern spaces, mostly taking space in Berlin. Using bold, high-contrast palettes and expressive, abstracted figures, AME is bringing life to stories of everyday moments and introspection.
AME is exploring the intersection of color, form, and emotion. The psychological impact of the chosen combinations creates a dialogue between the art and the viewer’s internal world. This central topic aligns with the artist’s background as a doctor in the psychiatric field. From dynamic pianists to contemplative figures and surreal portraits, the creations are characterized by movement, energy, and a deep passion for experimenting with shapes and spaces. Workshops and group projects, including curation of group shows, play an important role in the artist’s practice, fostering art as a medium for community and exchange
Anahita Sadri Khanloo
In my practice I explore the changing nature of memory and identity, showing how memories shift, fade, and connect over time. My art invites contemplation on how we shape our identities through shared and personal narratives. These fractured experiences of time are layered, flawed, and deeply personal – yet open to interpretation.
Andrea Friederichs-du Maire
Seit jeher bin ich fasziniert von der stofflichen Qualität von Träumen und der Art, wie unser Gehirn in ihnen Emotionen, Erlebtes, Irritierendes und Unbewusstes verarbeitet. Welten entstehen und zerfallen, Grenzen fließen, Regeln lösen sich auf, Vertrautes kommt in anderer Gestalt, ohne uns jedoch ernsthaft zu verwirren.
Es ist, als würden wir das Wesen der Dinge im Traum intuitiv begreifen.
Die Rückeroberung der Kompetenzen meiner Kindheit, in der ich, hoch emotional und verträumt, stundenlang in selbst erzählte Geschichten abtauchte, führte mich Jahre später in einem mühsamen Prozess tief zurück in mein Innerstes. Ich fand dort ein ganzes Universum.
Meine Werke sind Reisen in meine innere Welt.
Sie verknüpfen Emotionen und Gefühle mit traumartigen Landschaften, sie spielen mit inneren Bildern, Imaginationen und surrealen Ideen. Sie sind leise, poetisch, ein bißchen magisch, humorvoll und positiv.
Fotografie, Grafikprogramme und digitale Malerei sind meine Werkzeuge. Am Rechner setze ich alle Elemente zu einer Geschichte zusammen.
Andrea Steenbock
Holz mit Beitel, Hammer und Säge zu gestalten ist für mich eine phantastische Möglichkeit, Gefühle, Gedanken und auch Erfahrungen auszudrücken, die mich bewegen.
Das bildhafte Darstellen meiner “Wahrheiten” bringt mich in ein Gleichgewicht. Bei der Arbeit bekommen meine Gedanken eine Gestalt, die der Betrachter aufgrund seiner eigenen Erfahrungen gerne für sich vervollständigen, umgestalten oder verwerfen soll.
Denn eine Skulptur lebt durch den, der sie betrachtet, der sich durch sie inspiriert oder unterhalten fühlt.
Andreas Peters
I’m a creative free spirit. That’s what my friends call me. I traveled the world for a long time and therefore why my art is for adventurers, dreamers. For people who like to discover and think there is more to life than just what we see. It’s for people with emotional depth and a strong character.
Andrés Peralvo
We’re bombarded by a constant echo of monotony, leaving us feeling trapped. Repetitive and serial pieces. This is my personal rebellion against this cycle. Each ceramic piece is a one-of-a-kind creation, a testament to individuality in a world of mass production.
As a kid I drew and created for fun, now I want to let myself play again with limóin. Coming from Latin America and living in Germany, I try to find balance every day and ceramic is my medium to have fun with creation.
There is almost no totally new shape so I try to challenge it through collage, humor and new energy.
Angela Augustin-Wittkuhn
In meiner figurativen Malerei möchte ich Bildwelten schaffen, in denen persönliche Erfahrungen, urbane Motive und kollektive Stimmungen aufeinandertreffen. Malerische Gesten und gestalterische Klarheit sollen emotionale Räume öffnen, in denen Realität, Erinnerung und Imagination miteinander verweben.
Dabei geht es nicht um realistische Abbildungen, sondern um eine Verdichtung des Sichtbaren: Ausdruck, Haltung, Atmosphäre. Ich arbeite mit Acryl auf Leinwand, oft großformatig und liebe den steten Dialog zwischen Struktur und Intuition, zwischen Form und Empfindungen. Dabei bin ich immer auf der Suche nach einer visuellen Erzählform, die persönliche Geschichten mit universellen Themen verknüpft.
Anik Lazar
In my SLIME STUDIES series, I explore fluid toy-slimes by painting them. This material – famous among young people on social media platforms – is peculiarly passive, eluding within seconds from any form imposed on it.
For me, spending a lot of time in garages, these viscous substances symbolize the lubricating grease that is indispensable; as an interface material it keeps every machine running yet remains invisible.
The photorealistic larger-than-life-paintings depict baroque-like draperies of elastic substances, interwined and stripped of any purpose. I adopt their product names, such as SUPER OIL SLICK or THERAPUTTY EXTRAFIRM, as readymade titles.
The Mercedes star lollipop LAZARs ELITELOLLY tempts to lick a status symbol: the legendary hood ornament is filled with candy. In this way, the redundant fashion accessories from the cellars of the old punks are synthesized with a fruity sugar mass and are returned to the capitalist cycle as purchasable objects.
Anja Rieke
Figürliche Arbeiten in Öl, Acryl und Aquarell stehen im Mittelpunkt meiner Arbeit. Eine große Liebe zum Detail, und zu leuchtenden Farbigkeit finden hier seinen Ausdruck und Kraft.
Anna Brilz
Meine Arbeiten sind sehr unterschiedlich, meistens geht es bei meine Arbeiten um die Menschen und was die Menschen umgibt. Es sind nostalgische Sachen, die uns geprägt und begleitet haben. Und meine Arbeiten sind ein Versuch die zerbrechliche Fäden der Erinnerung zu bewahren, die uns mit der Kindheit und familiären Traditionen verbinden.
Durch meine Werke versuche ich die unsichtbare Verbindung zwischen Vergangenheit und Gegenwart, zwischen Erinnerung und Wirklichkeit zu bewahren.
Anna Clarks
My work moves between abstraction and surrealism and is rooted in personal experiences of identity, gender, and the body. I use ink, lacquer, and fine paper to explore the fluid boundaries between inner and outer worlds. Through minimalist forms and poetic distortions, I invite viewers to feel rather than define.
My pieces speak of vulnerability, resistance, and a silent rebellion against fixed norms. Each artwork is a note from an inner world — an attempt to document transformation, instability, and the spaces in-between.
annaleawie
Anna-Lea Wiegard works intuitively and sees art as a process of discovery and revision. As an art therapist, her focus lies in the act of creating – without a fixed image in mind. She incorporates everyday objects and memories from her childhood into her paintings.
Through continuous layering, rotating, and painting with her left hand or with closed eyes, unplanned and abstract forms emerge – forms that tell stories and invite viewers to explore.
annasophia.design.art
My work captures the beauty of the sun, stars, clouds, and skies in shimmering, cosmic compositions. I explore the poetry of the heavens—turning celestial light into tactile, visual moments.
By combining metallic and mirror surfaces with acrylic, I create artworks that reflect and transform. Sunrises dance, polar skies shimmer, and shooting stars streak across glowing, textured backgrounds.
These reflective surfaces invite the viewer in—blurring the line between artwork, light, and observer. My pieces are not just depictions of the sky; they are windows into a universe of movement, magic, and constant change.
Anne Regier
Die Auseinandersetzung mit der Wirkung von Farbe, Raum und Transparenzen bildet einen Schwerpunkt der Arbeit „Raum II“. Die Frage, wie Farbe nicht nur atmosphärische, sondern auch emotionale Räume erschließt und damit die Wahrnehmung der Betrachtenden verändern kann, prägt den künstlerischen Prozess.
Das Zusammenspiel von Farben, Material, Überlagerung, Schichtung, Licht, Leichtigkeit und Bewegung durch Wind bieten ein individuelles Raumerleben.
Das Werk ist Teil einer Reihe und darf auch von Innen betrachtet werden.
Annegret Fahr
My artwork is a mixture of intuitive situations, emotions and everyday observation. I am searching for pictures which touch myself – and I hope also others!
Anoukoudaria
Eine Position zwischen Orient und Okzident, mit einem starken Hang zu Beckett, Joyce und naiver sowie Outsiderkunst, positioniert sich Anoukoudaria klar im deutschen Expressionismus. Ihre Text und Bildarbeiten erzählen Geschichten von Seemännern, Meerjungfrauen und stellen die Frage nach dem Sein genauso stark wie die Gedichte anglizistischer Tradition.
Man soll die Jute der Seile spüren, die Körnigkeit des Pigments atmen können und trotzdem sind es Figuren, die in gegenseitigen Bezug zueinander stehen. Wie die onomatopoetischen Fragmente eines Gedichtes sind Bildelemente Teile einer Aussage. Scheinbar flüchtig dahingeworfene Flecken, die in der Tradition der Kalligraphie stehen, kontrastieren mit Elementen des Bauhaus, oder fügen sich mit ihnen zu einem Ganzen zusammen.
Anoukoudaria liebt das Material, sie lässt es sich auf der Zunge zergehen, die lässt es frei und zeigt seine Eigenschaften. Verortet im Figürlichen nutzt sie Musik und Rhythmus, Sinnliches als Inspiration. Im Unterbewussten entsteht das Bild, durch das Unbewusste geht es durch bevor es zu einer Geschichte wird, die eingefangen werden muss, gebannt werden will Die Quelle ihrer Arbeit ist das Leben selbst, die Muster aus fernen Ländern, aus dem sie selbst kommt, obwohl sie diese Länder nicht kennt, die Gewürze, die Farben und die Landschaften aus Orten, die sie bereist hat. Anoukoudaria gehört nirgendwo richtig hin und doch wird sie überall empfangen, weil sie überall sein und leben könnte. Diese Liebe zur Kultur, hohe oder Alltagskultur zeichnet die Arbeit Anoukoudarias aus. In allem hallen Fragestellung nach Ontologie wider, die durch Humor und Spiel beantwortet werden.
Antonia Eilers
In my practice, I strive to capture universal truths, beauty, clarity, and the complexity of existence through experimentation with colors and shapes. Beginning with a realistic template, I distance myself from this starting point through the painting process. The final outcome remains uncertain, which continually adds an element of excitement to my creative endeavor.
Painting evolves into a dialogue in which I establish a deeper connection to my intuition in a state of creative flow. This intuitive relationship allows me to capture deeper insights and emotional resonance in my works, so that each piece functions as a concise reflection of my artistic exploration.
Antonia Graaf
antonia erschafft farbenfrohe porträts, in denen abstraktion auf realismus trifft. die 1999 in hamburg geborene künstlerin lässt sich von der technik des acrylic pouring inspirieren, deren fließende dynamik ihre werke prägt.
ihre kunst ist ein spiel aus farben und formen, das emotionen einfängt und die grenzen zwischen realität und abstraktion verschwimmen lässt. neben großformatigen werken kreiert antonia auch kleine kunstwerke in mixed media stil, die ihre einzigartige bildsprache in kompakter form einfangen. jedes ihrer werke erzählt eine eigene geschichte – voller tiefe, bewegung und lebendiger ausdruckskraft.
Armelle Maguer
Ich mag strahlende Kompositionen, taktile Formen, eine schöne Spannung zwischen den Oberflächen erzeugen, körnige, unentschlossene, aber hoffentlich kraftvolle Linien zeichnen.
Natürliche Elemente, menschliche Strukturen und archetypische Formen spielen miteinander und verschmelzen, auf der Suche nach Intensität und Dynamik…
Ich male, um eine Kraft sichtbar zu machen, um eine Begegnung zu schaffen, um eine Energie zu teilen!
In einem Bild sollte jeder eine gewisse Stärke, ja sogar das Beste von sich selbst finden können…
arnooo.ai
With my roots in strategic advertising, I’ve learned how to translate emotion into pixels. I design visual experiences that feel organic – yet are powered by artificial intelligence. Whether it’s an immersive wall piece or a singular collector’s item, every artwork I create is built to tell a story you don’t just see – but truly feel. To me, digital art isn’t decoration. It’s an interface – between humans, space, art and technology.
Astrid Waterstraat
I create art to remind viewers that all feelings are part of our lives and make us alive – even the unpleasant emotions that we often encounter during change. My paintings are an invitation to go your own way and at the same time a rescue basket that allows you to take a mental break in difficult situations.
They give confidence, encourage transformation and celebrate being human in all its facets.
Alicia Roman
My work as a figurative oil painter is a journey of inner exploration, self-esteem, and the pursuit of discovering one’s true self through the lens of femininity. I portray women in intimate, expressive poses where light and shadow become a language of emotion.
My inspiration rises from my personal path and my Spanish roots, where the sun and the sea have shaped not only my artistic vision but also my sense of identity. Warm tones flow across my canvases, echoing the serenity of a golden afternoon or the quiet intensity of self-reflection. Through painting, I aim to create spaces where viewers are invited to reconnect with themselves, embracing both fragility and empowerment.
B
Beppe Gallo
I start with the premise that I have no plans and I know nothing.
I experiment. I trust my instinct.
I photograph women because this is the subject matter that inspires me the most.
Sometimes is body shapes or body parts, sometimes is portraits, sometimes is just abstract.
I am inspired by the women I photograph as well as everything and everyone around me, from design, to music, to films, to politics, to people and most definitely emotions.
At times in my head it is a little chaotic and what I am trying to say is not immediately apparent, not even to myself, but for some unknown reasons my work seems to connect with certain people and that’s all I can ask for.
Berner Panti Quispe
My art represents my natural rejection of inmediacy and obsolescence, in a world rushing for instant glory and gratification. The precious nature of the materials helps to define a deep respect for those things made to last and can’t be copied. Every print is the result of a methodical slow process, every piece is unique, as for this type of art do not allow identical reproduction.
Betuel Ergin
Each of the cubist paintings were composed with both an intuitive and freehand approach.
The starting point of each piece was to get involved with the space. Lines flow and meet, creating surfaces and shapes. I take a step back. I let them sink in. Little by little, pictures compose.
Reduction plays an essential role in the next part of the process. The outstanding lines start to stand out and produce the composition of the artwork.
In this method of working, the underlying analogy of life is created within the artwork.
We experience many moments, some of which we keep and hold onto, and others simply fall between the cracks. Which memories a person chooses to hold onto also says a lot about that persons’ perception.
The composition of the works do not create a final or true image, but rather a snapshot that allows you to open up the many different ways of looking at them.
Birgit Linde
LANDSCAPEPAINTING. Auf meinen Radtouren durch die Kulturlandschaft der Vier- und Marschlande in Hamburg stoppe ich dort, wo mich etwas spontan berührt, starke Natureindrücke – auch Gerüche, Geräusche, Farben, Wetter- und Schattenspiele.
Britta Jacob
I’ve always been fascinated by poster-covered walls, with their fragments of decaying material and the unforeseen interaction of their remnants.
This morbid charm has always held a great aesthetic appeal for me.
I began collecting old poster remnants and later, with the spirit of childlike aimlessness, pieced them together.
Fragments that were essentially alien to one another in terms of content took on further pictorial depth and meaning in their new arrangement.
Over time, the collages were further developed through color concepts or accentuations with acrylic paint.
Bunki
Bunki are hand-knitted and crocheted sculptures, in which the traditional craft finds a new form of expression. They appear organic, sometimes playful, always open to interpretation – as objects that are neither clearly nameable nor functional, but invite us to pause, to associate and to engage in dialogue.
C
Cara Westerkamp
My work celebrates the vibrant beauty of life through bold colors and joyful forms. In a world that often feels unsettled, I want my art to bring warmth, comfort, and a spark of happiness into people’s homes reminding them that, despite everything, life can still be bright and full of wonder. I use all materials and colors that my daily life and studio offer, constantly exploring and experimenting with new possibilities.
carlos genova
My artistic expression and pieces come from the meticulous study of time through astro physichs and the inravaloration of time. its a metaphorical and meditational way for me to comunicate with the viewer with geometrical complex forms
Carsten Wagner
Carsten Wagners themes focus on the female face and form, wildlife and subculture. Through the mediums relief- and intaglio printmaking, Carsten brings his characters and innermost thoughts to life, finding joy in getting his hands dirty while creating surreal and hyper-graphic figurative works. The characters in his works are coming out of their own imaginary universe.
A slow motion caption of ingredients which develop something that contains our volatile zeitgeist, celebrating counter-culture attitudes and underground moods as well as feelings and conflicts that appeared since humans were present.
catharina konnertz
Kunst macht die Struktur des Lebens erst erträglich! Ohne sie würde ich festkleben und längere Pinselfreie Phasen würden mich stumm machen. Das bin ich nicht! Denn meine gestalterische Dynamik bringt frische Leichtigkeit und wildes Leben- ohne Struktur!
Christina Mros
Meine Bilder sind inspiriert von der Schönheit alltäglicher Situationen, wobei Lebensmittel und gastronomische Szenen oft eine Rolle spielen. Ich möchte nostalgische, vertraute Momente festhalten und teilen, wobei es mein Ziel ist, dass man sich als Betrachter*in in der Situation wiederfindet. Vor allem inspirieren mich Reflexionen, Kontraste und Lichtspiele.
Ciro Chávez
My works speak for me, among the ancestral art, the figures express themselves with strong emotions and elegant silhouettes.
Claudia Gillies
Claudia’s works celebrate colour and sensation, and explore themes of self and states of being. Formerly of New Zealand and Australia, Claudia makes her home in Berlin. Her works are held by collectors all around the world.
Claudia Mächler
Claudia Mächlers Porträts entstehen aus einer intensiven Auseinandersetzung mit Farbe und Bewegung, noch bevor konkrete Gesichtszüge sichtbar werden. Durch übereinanderliegende Schichten aus Tinte, Sprüh- und Acrylfarben schafft sie lebendige, emotionale Bildflächen.
Die Farbe dient nicht nur als Gestaltungsmittel, sondern als Ausdruck innerer Zustände und Persönlichkeitsaspekte.
Ihre Malweise macht deutlich: Ein Porträt ist für sie mehr Empfindung als Abbild.
constanze krischer
As a Berlin-based makeup artist and painter, I began my painting journey in 2020 to find a vision of aesthetics and meaning next to the client-focused nature of makeup artistry.
I like to delve into themes of solitude and connection and the quest for balance between the self and the environment, trying to capture individuals in moments of contemplation.
My portraits are meant to convey a sense of calmness and a deep appreciation of the natural world while trying to blur the lines between the organic and the symbolic.
I like to allow shapes and expressions emerging slowly and organically on the canvas without spending much time on preliminary sketches. Round that i would say that my painting technique is a natural extension of my work as a makeup artist.
Cyrilo
I mainly use acrylic paint and gouache on canvas and paper. I combine abstract and figurative with a self-taught technique, finding a blurred line between outsider, primitive and naive art. I explore in the depths of the unconscious, the works are an outlet of emotions seeking to release the burdens of the past through the exchange of feelings.
D
Daniel Bausch
My work is very graphic and stems from the experimental world of typography and graffiti. From the complexity of lettering and colors in graffiti, I extract only individual sections, which I then abstract and simplify. I usually start with a single piece of lettering, which I then scale and crop.
Daniel Eckoldt
Daniel Eckoldt (1999, Buxtehude, Germany) is an artist working at the intersection of digital and physical media. His practice revolves around images collected from life situations, layered into compositions that merge painting, sketches, portraits, and visions—representing life as it is or as he experiences it.
His works begin entirely in the digital realm but are transformed into tangible forms—printed on textiles, acrylic screens, or illuminated within light boxes. By integrating light, he brings digital imagery into a physical space, keeping its ephemeral nature alive while embedding it into its surroundings.
Eckoldt studies in the Hochschule für bildende Künste (HfbK) Hamburg in the class of Anselm Reyle. In addition to his artistic practice, he is pursuing studies in sociology, politics, economic science, and education science at the University of Hamburg.
Daniel Steiniger
Free artist and archareologist. Impressionist soul, abstract mind – cubist demons on the shoulder.
Daniela Albert
Through my work, I explore the tangled workings of the human mind using vinyl paint, pencil, and marker. Hair appears as a thread connecting the visible with the hidden, tracing time, emotion, and memory.
Humor and irony are essential tools in my approach to the absurdities of existence. I aim to represent thoughts that coil around themselves, mental labyrinths expressed through vibrant textures and colors.
Daniela Witzel
My drawings and paintings are visual stories that usually begin with a feeling or a specific perception and then change over the course of the drawing process, continue to tell the story, and also raise questions. It’s important to me to break through and open up linear threads of meaning. The viewer becomes part of the story by (continuing to) tell it…
Dasha Shift
My work looks at how our sense of reality shifts in a world overflowing with information. I’m interested in the tension between systems that aim to organize things and the overflow that slips through — the way meaning drifts, resists control, and reshapes itself.
I often approach things from the side — more as a watcher than a narrator. My work doesn’t try to explain or solve. Instead, it traces uncertainty — the pauses, glitches, and quiet breakdowns in how we try to understand what surrounds us.
Doumorh El-Riz
Doumorh El-Riz, an artist working at the intersection of textile art and digital technology, unfolds her creative vision through the fusion of traditional craftsmanship with modern digital processes. Using text-to-image AI tools, she transforms thoughts and emotions into visual designs, which she then translates into physical forms in her studio.
This transformation is completed with hand-tufted wool elements and colored mirrors, giving the originally purely digital images a three-dimensional physicality. The artistic metamorphosis from virtual designs into tangible, freely shaped objects reveals how closely intertwined—and at the same time strictly separated—our physical reality still is from the digital world.
E
Edda Mann
I grew up in former East Berlin and experienced the collapse of the GDR at the age of 9. I studied at the UDK and at the Städelschule in Frankfurt a. Main (class: Christa Näher). Due to being a young mother I stopped painting for 15 years but am back since 2020.
I paint places which are emotionally relevant to me, places where I feel insignificant and wholesome/pain and joy, at the same time (like the Negev desert or the Brandenburger forests). I am highly interested in the transformation of a painful moment/occasion and/or memory into beauty.
Eduardo Landa
My work is fundamentally centered on exploring the human form. I find nothing more interesting than this. I seek to capture the character and essence of the
subject; at other times, I construct a fictitious narrative—developed independently or in collaboration with the subject.
In the end, I believe a person’s character always comes through, but whether that is the case or not that should not matter. I like to believe that the influence of architecture, photography, my cultural background, and personal influences are visibly present in my painting style.
I intentionally avoid assigning decipherable titles or providing literal explanations. Today, discourse, statements, and fabricated personas are often prioritised over the actual work itself. As a result, the constructed “persona” has, regrettably, come to overshadow the true substance of what anyone produces.
Elena Thüring
Elena Thüring born in Basel, is a Swiss artist, who lives and works in Hamburg. She has been studying there since 2021 in the painting class of Prof. Christan Hahn.
Elena’s works lead the viewer into a world that opens up to intimacy. The stories in them are pure and trusting.
These feelings are underlined by the delicate depictions
and the subtle color tone, in which physicality and humanity are subjected to a higher, poetic search. The depictions are peaceful and play on the trust and surrender to find new balance
and on the human willingness to let go.
For her works, Elena explores the profound symbolisms of ancient stories and their reverberations into the present day. Complex thematic strands flow into an open basin that only finds its strength in the individual interpretation and multiplicity of different truths.
The paintings are a reflection on the reclamation and ownership of one’s own discourse of female sexuality and open up to political and contemporary issues. These levels are discovered for the essence of painting as a way out to be more open, not to hold back and to work from the unconscious. While a painting may feel random at first glance, its meaning is often only revealed in retrospect like an epiphany.
Elisa Zorn
Ich schaffe als abstrakte Künstlerin Anblicke zum Innehalten. Im Kontrast zu meiner zweiten Leidenschaft, dem mathematischen Denken, entstehen meine Werke aus dem Gefühl heraus, sind Spiegel meiner Gedankenwelt und persönlichen Weiterentwicklung.
Dabei lege ich besonderen Wert auf Authentizität, möchte zum Ausdruck bringen, was mich tief drin bewegt. Meine Werke sind reduziert auf das Zusammenspiel weniger Farben und Formen, die berühren, verbinden und in minimalistischer Weise komplexe Gefühle widerspiegeln. Meine Kunst – eine Einladung, im Alltagswirrwarr ein bisschen mehr bei sich selbst anzukommen.
Elisabeth Bukenberger
Elisabeth Bukenberger (b. 1998) is a German figurative artist based in London and Berlin. Her passion for people is close to her heart and extends beyond the canvas. Before starting her studies at the Royal College of Art, she earned a degree in psychology, which gave her a broader knowledge and understanding of human behaviour and emotions.
With this in mind, she sees and seeks deeper truths within the mundane: a subject, a scene, a moment in time.
Using stylistic elements such as light, shadow and reflection, her work revolves around questions of identity, perception and womanhood. Photography plays an important role in Elisabeth’s creative process, if not behind the camera herself, she sources imagery from fashion and beauty industries, found and intuitively selected from magazines and online shops. In her earlier work, she aimed to highlight the aesthetic and criticise the fleetingness of these fast-paced, consumer-driven industries.
In a world full of visual content, Elisabeth aims to draw the viewer’s attention to a subject, a scene, a moment in time – in some way critiquing the development of today’s society.
Ellen Kutter
My paintings explore modern life and reflect an ongoing engagement with my own experiences. They capture and analyze sensory impressions, atmospheres, and the distinctive character of places.
Almost every painting is rooted in an action I have carried out beforehand—encounters, movements, moments of physical presence.
This connection to performance art often leads me to create several works in response to a single action. Certain motifs recur, yet within their repetition a difference always emerges.
Although I usually work with oil, my newest and largest series, Walk With Monoblock, was created en plein air. For this series, I chose for the first time to work with watercolor and charcoal—mediums that allow me to capture the situational and immediate even more directly.
Elvira Nisman Photography
My motivation as a visual storyteller and photographer is to tell stories through my lens rather than just take photos. I aim to convey stories in a cinematic, nostalgic, yet bold and sensual way—capturing people and their surroundings, their emotions intertwined with my own.
My visual approach carries a dreamy, sensual, and blurry touch—often with a poetic aftertaste—lovingly giving people who observe and feel my art the space to explore their own emotions and interpretations. In my photography, I also love to celebrate the human body—especially the female body—as a temple, creating beauty and strength by embracing vulnerability and playing with different perceptions.
Currently, I am based in Berlin but always on tour with my camera around the world.
Emma Bindrum
To show the human beauty in abstract forms and with objects awakens the viewer and shows them new perspectives. Creativity allows me to express myself in all kind of weird or fabulous ways and changes the viewers perspective for a couple of seconds.
Eva Lause
Seit 2019 arbeite ich verstärkt im Bereich der Autonomen Zeichnung. Dabei geht es um die Erforschung der ästhetischen Wirkung von Linie (und Punkt), indem ich mit einem Satz selbst erstellter Regeln spiele. Im Zuge der Spielereien entstehen Spannungsfelder zwischen Grenzen und Freiheit, Chaos und Struktur, dynamische Ästhetik und Unbehagen sowie Opulenz und Verknappung.
Während ich mich in meinem früheren Werken eher auf die schwarz-weiß-Wirkung beschränkt habe, sind seit kurzem Farben in meine Werke zurückgekehrt, wodurch es zusätzlich zu spannenden Farbspielen kommt, die sich bei der Betrachtung immer weiterentwickeln und verändern. Die eingereichten Werke und deren Farbwirkungen entstanden allein aus den Grundfarben: Blau, Rot, Gelb (und Schwarz).
F
Fabian Brück
Fabian Brück (b. 1989, Germany) is an interior architect, illustrator, and painter based in Berlin. With a background in architecture (FH Darmstadt) and furniture design (TH Rosenheim), his creative practice spans from urban sketching to expressive painting.
He draws inspiration from everyday scenes, travels, and the built environment. Starting with ink drawings during his carpentry apprenticeship, his artistic language evolved to include watercolor, acrylic, and oil—always with a focus on mood, movement, and moment.
Since moving to Berlin in 2020, Fabian’s work has expanded in both media and scale. His visual storytelling remains rooted in observation, often capturing fleeting urban moments through an impressionistic lens.
His work has been shown in group and solo exhibitions in Darmstadt and Berlin, and is regularly featured at Berlin’s Weddingmarkt and other creative markets.
Fabian Seyd
Fabian Seyd verbindet grafische mit malerischen Elementen, Figürlichkeit mit Abstraktion und
Kunstgeschichte mit Postmodernen zu thematisch geklammerten Bild-Serien. Sinnlich und subjektiv
Fabian Seyd combines graphic with painterly elements, fguration with abstraction and art history with postmodernism to create thematically linked picture series. Sensual and subjective.
Fabian Seyd combines graphic with painterly elements, fguration with abstraction and art history with postmodernism to create thematically linked picture series. Sensual and subjective.
Fabio Lorenzo
In my paintings I process obsessive thoughts and emotions I can not articulate otherwise. Its important to me that the depicted scenarios remain open enough to the interpretation of the viewer, so that they may hopefully spark their own, personal associations and experience as much catharsis through my work as I do.
Fabiola Pelzer
Wir begegnen täglich Bildern von Menschen – auf Plakaten, in Schaufenstern, auf Bildschirmen. Auch in der Münchner Innenstadt sind sie allgegenwärtig: Werbeflächen, Modekampagnen, Porträts, die unsere Aufmerksamkeit einfordern. Einige ziehen unseren Blick für einen Moment fest, andere streifen uns nur schemenhaft.
Jede Wahrnehmung ist anders. Was ins Auge fällt, bleibt individuell: eine Farbe, eine Geste, ein Gefühl. Die Bilder verändern sich. Sie werden weitergegeben, verzerrt und neu interpretiert. Was bleibt, ist ein Echo des Originals – ein Bild, das sich mit jeder Wahrnehmung neu zusammensetzt.
Fanny Harms
Do you ever find yourself caught in the chaos of a world that seems increasingly divided and stressful?
I think so many people around the globe share this feeling. That is something that we have in common. Maybe, a starting point, that unites us?
And what if there’s another place to be?
In my work as an architect and artist, I embark on a journey to discover that place – a place for happiness and inner peace. I believe that life can be a source of joy and peace for everyone, as long as we reconnect with ourselves and, in doing so, with the world around us, with all. Everything is a fragment of its totality, all things are interconnect.
I love to explore …
… seemingly opposing concepts, experiment with new materials and innovative techniques to create abstract art that symbolizes transformative ideas. My process of creation is highly meditative, and I hope that the works transport this feeling to you. The aim is not just to travel to a new place, but to leave examples that assure others they are not lost or alone, like signs on our path to a better now.
I love to explore …
… seemingly opposing concepts, experiment with new materials and innovative techniques to create abstract art that symbolizes transformative ideas. My process of creation is highly meditative, and I hope that the works transport this feeling to you. The aim is not just to travel to a new place, but to leave examples that assure others they are not lost or alone, like signs on our path to a better now.
Fahr & Perello Farre
Wir, Annegret Fahr und Imma Perelló Farré sind zwei bildende Künstlerinnen aus Hamburg, die sich schon lange kennen und nun seit einiger Zeit an dem Projekt „Malerei zu zweit“ arbeiten. Zwei Köpfe denken, dialogisieren, vier Hände gestalten, … ein gemaltes Bild einsteht.
Fede Taus
Meine künstlerische Arbeit befasst sich mit Identität, Erinnerung und kulturellen Dynamiken in Chile und Lateinamerika. Seit meiner Ausbildung an der Fakultät für Kunst der Universität von Chile erforsche ich kritisch die Darstellung und Konstruktion persönlicher und kollektiver Erzählungen, mit besonderem Augenmerk auf die Machtstrukturen, die sie prägen.
Seit 2014 konzentriere ich mich auf Themen wie kulturelle Abhängigkeit, Prekarität, das Dokumentarische und Archäologische. Oft arbeite ich mit Malerei in Verbindung mit der Analyse familiärer Fotoarchive. Dabei hinterfrage ich, wie Bilder und Narrative in historischen und sozialen Kontexten entstehen und wie eurozentrische Perspektiven bestimmte Erfahrungen „nationalisieren“.
Meine Arbeit verbindet persönliche und kollektive Dimensionen. Erinnerung, Landschaft, Naturbezug und die Konstruktion von Nationalstaaten sind wiederkehrende Motive. Ziel ist es, hegemoniale Diskurse, die das Lokale und Globale definieren, kritisch zu beleuchten und zugleich den Wert von Erfahrungen und Erzählungen aus lokalen Kontexten sichtbar zu machen.
Feier Wang
My ceramic work is deeply rooted in the natural world. I find constant inspiration in the tangible qualities of mountains, the solid feel of stone, and the subtle movement of water. My practice highlights the beauty found in natural imperfections, unique textures, and organic forms.
Each piece I create is intended to offer a direct connection to the earth. The aim is for my ceramics to bring a sense of calm and authenticity into your daily life, providing a moment of grounding when you interact with them. I’m pleased to share these expressions of nature’s raw elegance with you here at the market.
Felicitas Mathé
Da ich viele Jahre als Musikerin auf der Bühne gearbeitet habe, ist musikalische, tänzerische Bewegung mein Thema, vor allem Menschen auf oder hinter der Bühne, die sich musikalisch mit Händen und Füßen ausdrücken. Bilder von Natur und Landschaft entstehen ebenso durch die Umsetzung von Musik, die ich versuche, malerisch darzustellen.
Felix Lies
I paint in between realism and abstract art. I search for a sweet spot between expressive colour, forms and stories.
Frauke Sophie Thiemig
In my work I deal with the topics of climate change, nature conservation and environmental pollution and how nature is gradually reclaiming its habitat.
Friederike Meier
I combine artificial intelligence with traditional painting to challenge perceptions of femininity.
Using MidJourney, I create photorealistic portraits of women that question beauty standards and gender norms.
My figures are complex—both fragile and strong—existing beyond binary categories. Each is captured in a charged moment: something has happened, a word was spoken, a glance exchanged.
Emotions like anger, sadness, and determination overlap in a single snapshot generated through AI.
For me, AI is more than just a tool. I use precise prompts to expose the beauty ideals embedded in algorithmic systems. I then translate these digital images into vivid oil and acrylic paintings. Each figure is given a name and a backstory, transforming the AI-generated image into a unique identity on canvas.
Fritzi Ehlert
Landschaftsformationen wie Riffe und Meereslandschaften sind meine kreative Antriebskraft.
Inspiriert von der transformativen Kraft des Wassers und den Weiten von Horizonten schaffe ich Meereslandschaften, die zwischen Abstraktion und Realismus wechseln. In meinen vielschichtigen Acrylgemälden fange ich die beruhigende Wirkung von Wasser und Horizonten ein.
Ich arbeite viel mit fließenden und organischen Formen – sie erinnern an die lebendige Dynamik des Wassers und seine unaufhörliche Wandlung.
G
Gislind Kasparek
My paintings reflect my life. I’ve experienced a lot in my 80 years, and through my painting, I’ve found a way to give a face to my feelings. Symbols and motifs simply come to me; I can’t explain why. Little by little, the motif comes together, and my paintings emerge.
Greif Lazic
Greif Lazic is a queer artist duo and couple based in Berlin since 2018. Their work explores queer identity, intimacy, and the human impact on the planet, drawing inspiration from queer history, culture, personal observations, and their relationship. The name “Greif Lazic” is a tribute to their mothers’ maiden names.
Their art has been featured in Architectural Digest, The Queer Archive, My Gay Eye, Visionary Projects NYC, and PNPPL Zine. They’ve exhibited in New York City, Vienna, and Berlin, and created artwork for the Berlin stop of Grindr’s 2025 European Pride Bus Tour. Their pieces are held in private collections worldwide.
Greta Windfuhr
Greta Windfuhr really likes doing puzzles. She also really likes making art and what she likes the most is combining different materials and structures as if she was making a puzzle.
Greta is a 24-year-old artist who is currently doing a Masters in sculpture at the HfBK in Hamburg. In her work she investigates topics around identity, trees and the human relationship to nature through photographing, woodworking, sewing or sculpting.
Gudrun Eleonore Siegmund
In meinen Ölbildern verwende ich oftmals gefundene oder eigene Fotos von Menschen in bestimmten Momenten, bei dem die Darstellung ihre Versunkenheit zeigt, die dann auch ein Fragment eines Traumes oder einer Erinnerung sein kann.
Die dargestellten Personen, entpersonifiziert, transportieren eine innere Zwiesprache mit sich selbst oder einem Gegenüber.
In neueren Arbeiten arbeite ich mit Öl auf demontierten, antiquarischen Buchseiten, aufkaschiert auf Leinwand und Keilrahmen.
Gülfem Çetin Çapcı
My creative process is intuitive and experimental. In my paintings, I try to reveal the movements and emotional reflections of figures and objects, the relationship between nature and human beings in a unique language through vibrant color palettes. I aim to create a dramatic atmosphere with intense color blocks and layered tonal transitions.
In my work, I seek a new expression space for my emotions with clear contours, layers of monochrome or contrasting colors and sometimes sharp, sometimes soft touches. By emphasizing atmosphere and emotion, I offer the stories hidden behind the paintings to intuitive experience.
H
Hannah Bittner
Hannah Bittners work is inspired by Neoromanticism, blending surreal and impressionistic influences to explore the interplay of light and shadow. The natural world is a recurring theme, with reflections and sublime landscapes serving as a backdrop for contemplation.
The quirky costumes worn by figures in Hannah Bittners paintings personify her beliefs, thoughts, struggles, and feelings, adding a layer of narrative and introspection. Through this synthesis of elements, Hannah Bittners art seeks to capture the ethereal and evoke a sense of wonder, inviting viewers to delve into the complexities of emotion and perception.
Hannah Bittners Arbeiten sind von der Neoromantik inspiriert und vereinen surreale und impressionistische Einflüsse, um das Zusammenspiel von Licht und Schatten zu erforschen. Die Natur ist ein wiederkehrendes Thema, wobei Spiegelungen und erhabene Landschaften als Kulisse für Kontemplation dienen. Die skurrilen Kostüme, die die Figuren in Hannah Bittners Gemälden tragen, verkörpern ihre Überzeugungen, Gedanken, Kämpfe und Gefühle und fügen eine weitere Ebene der Narration und Selbstbeobachtung hinzu. Durch diese Synthese von Elementen versucht Hannah Bittners Kunst, das Ätherische einzufangen und ein Gefühl der Verwunderung hervorzurufen, und lädt den Betrachter ein, sich in die Komplexität von Emotionen und Wahrnehmung zu vertiefen.
Helen
In the interstitial space where human anatomy converges with architectural form, Shulkin’s work uncovers a shared essence. Each piece reveals the visceral parallels between the human body and the built environment, capturing their intertwined vulnerabilities and resilience.
Her canvases are not representations of physical spaces but dissections of their underlying anatomy, exposing the sinews, vessels and tissues.
This exploration is not an exercise in metaphor but a direct engagement with the unity of structure and being. By employing oil and canvas as scalpel and sutures, Shulkin peels back the layers of architectural exteriors to expose their raw connection to the human form. The stark rigidity of concrete finds intimacy in the softness of flesh; the cold strength of steel resonates with the warmth of blood. Her work transforms the built environment into a living entity, challenging conventional perceptions of space as static and inert.
Rejecting the boundaries between body and architecture, Shulkin’s art posits a bold synthesis. It is a conceptual and visual alchemy that transforms the way we perceive man-made landscapes—not as mere habitats, but as extensions of our very existence. The resulting pieces are as much a map of the human condition as they are manifestos of humanity’s need to inscribe meaning onto the lifeless fabric of our constructed world.
HNRX
HNRX Arbeiten präsentieren eine gekonnte Verschmelzung von Stilen und Techniken, die von der Urban Art beeinflusst sind. Mit einem breiten Spektrum von Ausdrucksformen hat er bereits in mehreren Städten Ausstellungen und Projekte realisiert wie : Florenz, Köln, Leipzig, Innsbruck, Wien , München, Zürich, Hamburg, Berlin……
I
Ina Carla Cierniak
When I paint, I feel like I’m looking for a treasure. Instead of digging deeper and deeper, I layer the colors on top of each other. There are often several variants of the work under a finished painting. When I feel the artwork starts to glow, I know it’s finished. Light and lightness should emerge and finally unfold when you look at the works.
Ina Djurkovic
Ina Djurkovic’s work explores the tension between strength and softness, challenging the idea that femininity equates to weakness. She paints on raw, unstretched canvas, allowing water and pigment to seep unpredictably, embracing both control and surrender.
Her artistic journey began with organic abstract forms inspired by human anatomy, which started as a deeply personal process of meditation and self exploration.
Later, she shifted to portraiture, layering transparent Plexiglas panels to create depth and movement. Her current collection merges abstraction and figuration, reflecting an evolution in her exploration of identity and resistance.
By allowing her materials to unfold naturally, Djurkovic redefines softness, not as fragility, but as power. Her work resists rigid structures, instead embracing transformation, imperfection, and vulnerability as acts of strength.
IPF
Ich zeichne auf einem zerknitterten Blatt-Papier,mit Feder oder Kugelschreiber.Mit Nadel und Faden.
Es sind abstrakte Zeichnungen, die am Anfang eine Art Protest, inzwischen, aber eine Art zu denken für mich sind.Die Falten bestimmen den Weg.Zufall, Entscheidungen, Geradeaus. Umdenken. Stolpern.Kein Weg zurück.Ein Stück Leben in Schwarz/Weiß.Ein lebendiger Prozess.
Irina Prager
Irina Prager (born 1996) is an Austrian artist whose work investigates perception and the fragility of reality through the medium of oil painting. Blending the aesthetics of pop and digital culture with techniques grounded in the tradition of classical painting, her work bridges historical methods with contemporary themes, forming a dynamic dialogue between past and present visual languages.
A defining element of her work is the use of layering where overlapping visual planes generate tension and rhythm. These layers, shifting between harmony and discord, evoke the fragmented aesthetics of digital screens and cinematic compositions. By creating a simultaneity of times and spaces, her work questions conventional notions of reality. Through oil paint she creates atmospheres of striking depth and luminosity – harnessing the medium’s unique ability to convey bold contrasts and nuanced transitions.
Prager’s works create a tension between seduction and distance, the familiar and the uncanny.
Isa Johannsen
Im Zentrum steht die Spannung zwischen Struktur und Geste. Schichten, Spuren und Fragmenten erzählen vom Prozess, von Wandel und Offenheit.
Isabelle Tellié
Isabelle Tellié’s interdisciplinary work explores the tension between order and chaos, intuition and structure. Drawing from Bauhaus, Minimalism, and emotional resonance, her creations invite viewers into a heightened state of perception. Through spatial interventions, optical shifts, and sensorial play, she investigates how we experience and respond to form, light, and movement.
IT’SSTEFA
Meine Gemälde und Skulpturen bilden sowohl visuell als auch kontextuell eine Gegenposition zur Philosophie des Minimalismus. Ich zelebriere die Opulenz des Alltäglichen, indem ich komplexe Muster, organische Pinselstriche und von kindlicher Nostalgie inspirierte figurative Elemente zu maximalistischen Gemälden verschmelze.
Ich schöpfe aus persönlichen Erinnerungen und Erlebnissen, sowie den Erfahrungen meines sozialen und digitalen Umfelds. Flohmärkte, Secondhand Shops und Sperrmüllhaufen am Straßenrand sind weitere Orte, an denen ich nach metaphorischem und physischem Material für meine Werke suche. Diese Funde ermöglichen mir eine Wiederentdeckung und Neubewertung des Vergangenen. Sie inspirieren mich dazu, Kunst zu schaffen, die tief in unser kollektives Gedächtnis eindringt und uns verblasste Erinnerungen aus einer neuen, erwachsenen Perspektive reflektieren lässt.
Ivonne Haake
Ich bin Künstlerin!
Und meine Kunst ist meine Sprache, wo ich keine klassischen Worte habe.
Meine Arbeit als Künstlerin ist wie das Spiel mit einem zusätzlichen Sinn. Ich bin immer auf der Suche nach ungewöhnlichen Assoziatonen, spiele mit dem Blick um die sprichwörtliche Ecke, verbinde Welten und lade ein, [de:rˀa:rtɪç] neue Wege mit mir und meinen künstlerischen Arbeiten zu gehen.
Vielleicht begegnet er dir demnächst auch – der Hase in der rosa Strumphose….?”
Izabella Kawycz
In my practice, I use oil paint to create figurative worlds. I combine realistic studies with imaginative compositions, resulting in a certain distortion and surreal scenery. I often work with digital collage during the execution of paintings.
Main motifs in my work are depictions of bodies interacting with the surrounding landscape – the contrast of depicting figures in expressive brushstrokes against a simplified background. Other crucial motifs are recurring reflections and motion. On the other hand, in my body of work, studies of reality are also present, as a way to develop painting technique. My goal is to create paintings that display a convincing reality, close to reality only in some aspects, to leave the viewer with doubt, and provoke a question.
J
J.Reitalu
I am J. Reitalu, a visual artist exploring the emotional and sensory potential of oil painting. My work is an ongoing investigation into color, texture, and the layered nature of perception. I’m drawn to the medium for its richness and depth—each painting becomes a space where thought and emotion meet, where the visible and the intangible coexist.
Painting is not just a method but a form of inquiry. I experiment with surfaces, gestures, and contrasts to evoke presence, memory, and transformation. My process is intuitive yet deliberate, guided by a fascination with light, tension, and the rhythm of mark-making.
What drives me is the search for honesty in form—a visual language that speaks beyond narrative. I see each work as an invitation to slow down and feel, to experience a moment of stillness or intensity that lingers beyond the frame.
Jakob Stolte
My goal is to evoke the otherness that I see both in myself as a queer person, the hidden parts of my deep psyche, and the world around me. Humans tried to visualize “the Other” for a long time: depictions of demons, spirits, or aliens resulted from the combination of known parts from the natural world.
I want to take a different approach: I approximate natural processes by artistic means to create more absolute novelty. My work invokes sensations of actual growth, breathing, eroding, etc. Workflows that are controlled and randomized at the same time are used. I combine digital media like 3D graphics and AI with traditional forms of expression, mostly painting. I see myself as a breeder, that is, reacting to processes of growth. Furthermore, I translate my organic forms from one medium to another; as a result, the image evolves like an organism.
Jan-Gero Kleist
Jan-Gero Kleist lebt und arbeitet in Hamburg. Er schafft Kunst und Objekte – manchmal beides zugleich. Seit 2019 konzentriert er sich auf die Arbeit an Holzreliefs: reduzierte, klare Kompositionen, die Räume ordnen, verbinden oder trennen. Sie bieten dem Blick und den Gedanken eine Flucht – in einer Welt voller Reize und Chaos. Seine Arbeiten vermitteln Ruhe und Klarheit.
Gero kommt vom Film und Editing – 25 Bilder pro Sekunde. In seiner Kunst zählt nur das eine: ein Frame, das mit Sorgfalt und Feingefühl entsteht. Holz und Handwerk spielen dabei eine zentrale Rolle. Die Leidenschaft liegt im wiederholten, intuitiven Umgang mit Form und Farbe.
Er stellte in den letzten Jahren an verschiedenen Orten in Hamburg aus, war Teil digitaler Gruppenausstellungen in Zürich und New York. Sein Werk No. 22 zierte das Titelbild des Artist Closeup Magazine im August 2024.
Jana Blum Zimova
Jana Zimová was born in the Czech Republic in 1987 and now lives and works in Germany. In the tradition of Magical Realism, her works present unreal and impossible events taking place in the real world. The impossible or supernatural happens in her paintings.
The artist uses imagination in the frame of natural environment and social realities, thus searching for a truth that goes beyond what is visible in everyday life. In those so-called “magical happenings” in her paintings, reality and dream melt into a superordinate totality that needs to be interpreted.
Jana Jacob
Jana Jacob is a Berlin-based painter whose oil paintings explore intimate, often private moments of human existence. Her works oscillate between self-representation, latent exhibitionism, and voyeurism, addressing the tension between vulnerability and the desire for self-exposure.
In her new series She wore blue velvet, Jacob turns to the motif of blue velvet – a material
traditionally associated with sensuality, corporeality, and seduction. The velvet appears in shifting forms: as a curtain concealing a figure with only their feet visible, or as a blue velvet air mattress entwined with limbs, the rest of the body submerged in secrecy.
Jana Mertens
My work in my “strangers” series focuses on quiet moments in everyday life, for example men in suits, absorbed in their newspapers, seemingly alone, yet situated in public space. I’m particularly drawn to urban solitude. While most people today are focused on their phones, someone reading a newspaper feels almost out of time. And yet the scene could have taken place yesterday or seventy years ago.
That sense of timelessness is central to my work.
In my second series “Disco”, I focus on disco balls. These pieces explore fine art and realism. I like the reflection or entire spaces or rooms within a disco ball. Unlike the quiet withdrawal of the strangers series, the disco balls play with light, surface, and visual complexity, while still remaining simple. Disco balls often appear in places where people come together, like dancing in clubs or talking in a get together outside.
Janine Kuehn
I am a Berlin-based photographer and digital artist dedicated to capturing the essence of everyday life and the stories behind my subjects. My work focuses on identity and emotion, often blending portraiture with experimental techniques.
Collaborating with musicians and other creatives allows me to explore new perspectives and create engaging visual narratives. I aim to connect with viewers, inviting them to find their own meaning in each piece.
Jannis Kustak
Ich bin studiere an der HAW Illustration mit Schwerpunkt Malerei. In dieser beschäftige ich mich am liebsten mit dem Spannungsfeld von Vergänglichkeit und Neuanfang in der Natur. Besonders inspirieren mich Waldsterbelandschaften im Harz, Orte, an denen Zerstörung und neues Leben in einem interessanten Kontrast koexistieren. Diese Dynamik versuche ich in meinen Arbeiten spürbar zu machen.
In meinen zeichnerischen Werken arbeite ich gerne prozessbasiert. Meine Zeichnungen entstehen intuitiv, wobei der Schaffensprozess ein zentrales Element meiner Arbeit ist. Linien, Strukturen und Formen entwickeln sich organisch und reagieren auf innere sowie äußere Einflüsse.
Jeannette Bergen
My works have already been shown digitally in Riga, Berlin and Vienna. I would like to exhibit them as prints for the first time, sell them and get in touch with interested parties in person.
Jessi Kammerer
In comic-like fantasy worlds, humans, animals, and fabulous creatures meet in vivid, dynamic scenes. In colorful detail, I explore the quest for connection and love, embedding it in a constant longing for warmth and sunlight. My background in psychology and contemporary dance has shaped my eye for the physical expressions of social interaction.
Often, my characters’ emotional openness is met with misunderstanding. Nonetheless, I attempt to strip these failures of any tragedy by transforming them into lighthearted playfulness. Through exaggerated symbols and whimsical elements, I invite viewers to embrace eccentricities without judgment, finding inspiration in their vibrant oddities.
Jessine
My subject is light and how it translates into atmospheres. Whether it is manifesting in interiors or experienced beneath open skies, I try to grasp the natural world of light emitted by our neighboring celestial bodies, and filtered through our wold, through the process of painting.
Johanna Blaha
Ich bin Johanna Blaha, Künstlerin und Illustratorin aus Wien. Meinen Universitätsabschluss habe ich 2018 an der University of the Arts London gemacht.
Mein kreativer Prozess ist sowohl intuitiv als auch konzeptuell. Während ich meine Werke oft in kräftigen Farben und expressiven Formen gestalte, suche ich stets nach Wegen, Geschichten zu erzählen und emotionale Verbindungen zu schaffen.
Ich sehe meine Kunst als Einladung, die Welt durch eine spielerische, farbenfrohe Sicht zu betrachten. Ich bearbeite Themen wie Verbundenheit, Identität und die Schönheit alltäglicher Momente. Meine Arbeiten verbinden meine Liebe zur Natur mit einer Leidenschaft für Farbkombinationen und impressionistische Einflüsse.
Druckgrafik, insbesondere Siebdruck, hat einen großen Einfluss auf meine Arbeit. Ich nutze diese Technik gerne, um Varianten zu erforschen und dadurch meinen Schaffensprozess zu erweitern und damit zu experimentieren.
Josef Thiesen
Meine Arbeiten sind in unterschiedlichen Techniken und Genres umgesetzt. Zentral ist die Kombination von Acryl- und Ölmalerei, häufig unterstützt durch alte Techniken. Die Entstehung ist in der Regel ein work in progress, deren Ausgangspunkt visuelle Eindrücke von Gegenständen oder Environments sind und assoziativ entwickelt werden.
Die Zeichnungen dienen als Grundlage für die späteren Bildinhalte. Häufig stehen Metamorphose als Endglied der Kette. Neben den malerische Resultaten gehören Skulptur, Giclees (als fine art print – Editionen) und digital entwickelte Animationen zum Gesamtwerk, letztere in der Regel auch in Interaktion zu malerischen Vorhaben.
Joshua Hoskins
I start with the idea that the meaning of an artwork is primarily unknown until engaged with by a viewer. The meaning the viewer finds is personal and resides only in the mind of imagination. Any attempt by the artist to say what their art means is best viewed as intention. There is both the personal meaning for those who engage with the artwork and a cultural meaning.
The cultural meaning is continually constructed through a process in which the culture the artwork is embedded in, engages with the artwork. Said in another way, the viewing of the artwork by many countless viewers constructs its meaning. This meaning is both created and discovered in a process that takes place through time, always becoming but never arriving.
Julia Kaiser
In my work I dig deep to uncover forgotten and futuristic production techniques and shapes.
Inspired by femininity, mother earth and (sub-)cultures I translate these into long-lasting everyday objects and sculptural pieces alike.
Julia Lidou
Julia Lidou is a German-born Greek painter whose work examines the unidealized female body and its clash with modern beauty standards. Originally a Special Effects Make-up Artist and Wigmaker, she developed skills in hyperrealistic prosthetics before returning to oil painting in Berlin in 2019.
Her paintings echo her fascination with replicating skin and flesh, now used to explore emotional overwhelm, the female experience within patriarchy, and the reclaiming of agency over the body’s narrative. Lidou’s work also tackles self-censorship and the quest for belonging. Her distinctive visual language merges raw emotion with clear concepts, inviting viewers to reflect on identity, vulnerability, and self-acceptance while highlighting the tension between inner experience and societal pressure.
Julia Shanaytsa
Artist Julia Shanaytsa explores the contemporary human condition shaped by distraction and consumerism. Identity is constructed through surrounding objects, much like symbolic attributes in Renaissance portraiture. However, today’s objects are transient, subject to planned obsolescence that forces constant replacement.
This impermanence creates inner chaos, yet within it lies fleeting beauty—in objects, sensations, and the transience of the moment. The modern self shifts constantly, but through the gaze of the Other, it appears stable and whole. The Other represents external judgment, seemingly immune to doubt, in contrast to the fluid and uncertain self. Objects become mediators in this relationship, active participants between “I” and the Other. Photography captures these fragile exchanges, freezing fleeting perspectives outside the rush of daily life. Shanaytsa’s art does not seek completeness; it reveals flashes of change, moments on the edge of transformation. Through these glimpses, she uncovers the essence of identity in a world defined by instability, temporality, and motion.
Julia Sophia Neundorf
I will describe my art as powerful, abundant and colorful with a strong underlying modus of what could be fear and love interacting. My aim for the viewer is to feel empowered and intrigued. I know that I put a little bit of my heart in every painting and that makes my work
special. I capture the poetry of moments, the
movements of light in matter, figurative signs, and transpose them into my paintings, free from any literal fidelity.
Justus von Karger
Justus von Kargers Arbeit wechselt stetig zwischen traditioneller Malerei und digitaler Manie. Als “Sir Fruit Loops” schafft er digitale Illustrationen voller Farbe und absurdem Humor – detailversessen bisweilen grotesk, immer auf der Kippe zwischen Witz und Geschmacklosigkeit.
Seine deutlich dunkleren Ölgemälde fanden in naiven Anfangszeiten im Raum der Portraitmalerei statt, mittlerweile zeigen sie zunehmend mit biografischem Fokus alltägliche Transiträume als Monumente der Melancholie: Snackautomaten werden zu Altären der Konsumgesellschaft, überquellende Mülleimer zu barocken Vanitas-Stillleben.
K
Karmen Kraft
My work explores the complexities of the human experience, with a focus on the often-overlooked depth of modern femininity. Through drawing, painting, and printmaking, I seek to reveal the hidden strength, emotions, and contradictions within women, who are often portrayed superficially.
I aim to communicate the unspoken, capturing the raw essence of individuality and solitude. My art is a dialogue on equality, respect, and freedom—values that I believe are essential for a just society. By depicting women through a genuine feminine lens, I strive to honor their stories, emotions, and inner worlds.
Katha Bineider
As an artist, Katha Bineider is fully devoted to the delicate art of pastel painting. In her creative work, she bravely navigates the challenging yet unique balance that pastel chalk offers, blending the meticulous compositional depth of the old masters with the hyperrealistic aesthetics of modern times.
Her work moves between dreamy, distant aloofness and everyday, dynamic openness. Katha’s pieces captivate viewers with their radiant, fairy-tale-like, vibrant color palettes, playful light-shadow interactions, soft transitions, and an almost obsessive, perfectionist attention to detail. Her thematic series transport the viewer into an imaginative fusion of dream, fairy tale, and reality. Through this approach, Katha aims to build a bridge between aesthetics, creativity, and craftsmanship, bringing people from all over the world together.
Katia Cutropia
Katia is a French artist working with painting, photography and large-scale murals.
Her work explores connections between people, spaces and nature, using layered colors and geometric forms to create immersive environments. She has exhibited internationally and completed commissioned projects in Europe, North Africa and beyond.
Inspired by organic textures her work challenges the boundaries between interior and exterior spaces.
Through residencies, workshops and collaborations, she engages with diverse communities, fostering dialogue and reflection. Her practice questions how we relate to the world and invite us to feel it more consciously.
Katja Bloom
As an explorer with an eye for detail, nature is the central theme of my artistic practice. My photographs are staged visual journeys, shaped by surprising colours and forms. The nature depicted in my work reveals not only the fascinating aesthetics of chance and the beauty that arises from chaos, but also serves as a projection surface for personal emotions and experiences — a mirror of inner landscapes.
My images move between explosions of color and quiet meditation, a dynamic interplay of chaos and calm that celebrates nature’s diversity in all its facets.
An essential part of my artistic process is working in the tradition of “pure photography,” deliberately avoiding Photoshop or AI editing, as the authenticity of the moment is at the heart of my work.
Katrin Lazaruk
Katrin Lazaruk, Osnabrück, works with a clear feminist approach and dedicates her art to exploring both gender issues and the visibility of female artists. Her primary materials are cassettes and videotapes. She uses these media to reflect on themes such as memory, time, and the distortion of narratives.
Her works are both small- and large-format, installation-based, and present in public spaces. She places her works in dialogue with their surroundings and raises questions about the visibility and accessibility of art.
Kerstin Serz
In my work, I explore the relationship between humans, animals, plants – and increasingly, objects. I’m interested in what lies between: transitions, the unspoken. Hands often appear, holding birds like bouquets or trophies – an ambivalent image oscillating between tenderness and control.
In more recent works, the human body is absent but remains palpable in vessels such as bowls or soup tureens. At times, compositions erupt in wild splashes of color, as in my Soup Explosions. Animals function as mirrors of inner states, silent witnesses to a vanishing world. Their gaze confronts, comforts, or remains still.
Surreal elements challenge the viewer to engage with their own internal imagery – the unconscious, the undefined. Symbolism becomes an open invitation to personal interpretation.
Surreal elements challenge the viewer to engage with their own internal imagery – the unconscious, the undefined. Symbolism becomes an open invitation to personal interpretation.
Kim Nina Art
I’m Kim Nina Wiechers, born in 1996 and based in Hamburg. Art is the truest expression of my inner world. When words fall short, my thoughts and emotions find their way into colors, shapes, and textures. My surroundings—the atmosphere of a city, the play of light and shadow—flow intuitively into my work.
Abstract art captivates me because it offers freedom, allowing each viewer to discover their own story. My motivation is to create spaces within my paintings where emotions, memories, and new perspectives can emerge. Each piece becomes an open invitation to feel, reflect, and engage in a silent dialogue between artist and viewer.
Kirk Sora
My art is more about feeling and diving into than just being looked at. I consider each of my photographs as a door giving access to something that cannot be said. These artworks induce a process of creating impressions upon the viewer at a point where words actually end.
The individual picture creates a dynamic impression and tells its own story.
Normally, those who are looking at it are prompted to trace the source from where the image originates. This, of course, is not possible. My approach would be to use this effect to invite the viewer to take his/her time for contemplation and feeling the spirit of the artwork.
I am an educated visual artist with a classical background. After having graduated in painting and graphics I moved to the countryside in the north of Germany, I abandonded painting and began to take abstract photographs. For more than 15 years I have been researching the phenomenon of fuzziness in the image. This allows to go deeper into the soul of my artworks.
Klara Bezug
Klara Bezug is the artist persona of Italian photographer Gaia Marturano, known in Berlin for her surreal photomontages.
Collecting and archiving old postcards and photographs, Marturano uses these images both as inspiration and as a medium when she works on collages, photomontages or screen-prints. Within her practice she investigates the topic of memory and nostalgia in an attempt to bridge the gap of time.
Klaus Möller
Perception is largely based on socially determined conditions. Concepts define and obscure what becomes perceptible in my artwork. I am conducting a kind of basic artistic research, for example, with questions about the invention of space in relation to the idea of naturalness and artificiality.
Kristina Schwarzwald
In my paintings I explore how reality falls asleep and myth comes in its place, how fine lines of definition of the existing and the fictional are defeated in this way. All my artistic experience is based on an endless contemplation of the world and its mystery.
My artworks reflect the eternal flow of forms of matter, the interweaving of the existential meanings of everything on Earth.
The motif of their monochrome song tells about the illusory nature of consciousness. How often a logically built chain of life breaks through and we see a perfect inexplicable void that releases our mind into outer space. It seems that the vision exists separately from the seer, and you can familiarize yourself with the result of its independent existence in my works.
L
Laetitia Fiedler
In meiner Malerei untersuche ich zwischenmenschliche Spannungen, Erinnerungen und Körperbilder mit einem Hang zum Surrealen. Mich interessieren Zustände zwischen Nähe und Fremdheit, Intimität und Distanz – oft erzählt durch überzeichnete Figuren, schiefe Perspektiven und ein expressives Spiel mit Farbe und Form. Ich arbeite prozessorientiert, oft mit Überlagerungen, Brüchen und bewusster Unschärfe.
Der Körper dient mir als Projektionsfläche – nicht zwingend anatomisch korrekt, sondern emotional codiert: Einsamkeit, Begehren, das Komische im Tragischen.
Ich studiere im vierten Semester Fine Arts im Bachelor mit dem Schwerpunkt Malerei an der Hfbk in Hamburg und entdecke meinen Stil immer wieder neu.
Lars Plessentin
Lars Plessentin grew up surrounded by vintage cameras, an army of family photographs, and antiquarian 19th-century leather-bound chemical encyclopedias on photo development. Yet in his youth, he was interested in many things — except photography and art. Instead, following typical adolescent impulses, he devoted his time to spraying graffiti on walls.
That changed abruptly during his studies in product design: by chance, he enrolled in photography seminars — and began to develop his first artistic works. For a long time, his approach was deeply rooted in the possibilities of analog photography, often expanded by experimental techniques and processes.
In his current series, Lars Plessentin is once again reshaping his working methods. He reconnects with his fascination for objects and model-making — a nod to his design background. He experiments with structures, materials, elements, and signs of wear. Lars Plessentin layers bodies, colors, and textures. His works become vibrating image spaces between desire and decay — radical reconfigurations of the visible, somewhere between club lighting and museal composition. The objects — often unsettling and humorous — shift with light and perspective. What just appeared sculptural turns flat; what seemed rigid begins to shimmer. This results in hybrid wall installations — situated somewhere between design model, trash archaeology, and sarcastic commentary on the present.
In his current series, Lars Plessentin is once again reshaping his working methods. He reconnects with his fascination for objects and model-making — a nod to his design background. He experiments with structures, materials, elements, and signs of wear. Lars Plessentin layers bodies, colors, and textures. His works become vibrating image spaces between desire and decay — radical reconfigurations of the visible, somewhere between club lighting and museal composition. The objects — often unsettling and humorous — shift with light and perspective. What just appeared sculptural turns flat; what seemed rigid begins to shimmer. This results in hybrid wall installations — situated somewhere between design model, trash archaeology, and sarcastic commentary on the present.
Laura Czernich
My art is heavily influenced by the time I spent in Japan, working there, travelling, and studying for my bachelors degree in Japanese studies which got in 2024. Having studied the language since I was 13 years old, I feel a strong connection and pull to the Japanese culture and its creative subcultures, as well as social issues.
LAURA KETTING
Laura Ketting is an experimental artist and graphic designer based in Rotterdam. Her work explores the boundaries of typography, where letters take on a visual and conceptual role beyond readability. By working exclusively in black and white, she emphasizes structure, rhythm, and texture, stripping language down to its purest visual essence.
Through hand-drawn techniques and an intuitive process, Laura creates abstract compositions that invite slow looking and evoke a sense of curiosity. Mistakes and unpredictability are embraced as essential elements, often leading to surprising and powerful outcomes.
Moving fluidly between art and design, her work challenges the viewer to reconsider the relationship between form, material, and meaning. The result is a visual experience where letters are no longer tools of communication but become immersive landscapes in themselves.
Moving fluidly between art and design, her work challenges the viewer to reconsider the relationship between form, material, and meaning. The result is a visual experience where letters are no longer tools of communication but become immersive landscapes in themselves.
Le Lapin Incognito
Manchmal benötigen wir das Ungewöhnliche und Irritierende, um mit anderen Augen auf die Welt zu blicken.
Denn erst durch die Verschiebung der Perspektive stellen wir neue, vielleicht wichtigere Fragen.
Le Lapin Incognito hinterfragt Sichtbarkeit, Identität und Präsenz im urbanen Raum. Die Figur des weißen Hasen erscheint unerwartet – still, poetisch, ohne Erklärung.
Als verfremdendes und zugleich romantisierendes Symbol zieht er uns in eine mystische Bildwelt, die Distanz schafft und zugleich zur Auseinandersetzung einlädt.
Die Arbeit versteht sich als unterschwelliger Eingriff in den Alltag: Als visuelle Irritation fordert der Hase auf subtile Weise dazu auf, genauer hinzusehen.
Le Lapin Incognito ist damit sowohl ein Kommentar zur Gesellschaft als auch die Einladung, sie neu zu entdecken – ein stiller Impuls innezuhalten und die Gedanken in eine andere Richtung zu lenken.
Le Lapin Incognito ist damit sowohl ein Kommentar zur Gesellschaft als auch die Einladung, sie neu zu entdecken – ein stiller Impuls innezuhalten und die Gedanken in eine andere Richtung zu lenken.
lelique
„In front of a warm, delicate purple-pink background, strong and colorful movements form into round formations. These usually enclose brighter interiors, enclosing them in an energetic manner. The brush tracks applied spontaneously and in a flowing duct are closer to the vividly chaotic than to a designing intention, so that the whole of the picture acts more as a gathering of vivid colors than as a composition.
The condensation of the traces of movement to the many formations is lush, almost overflowing, as if a restless desire for creators speaks. With the exception of a dark purple tone that keeps the whole thing upright, the vital forms seem to congregate in a rather ascending gesture. Not driven by light, but rather held in themselves, they circle the feeling of closeness, a closeness that would most like to merge. The growth with which the movements have created an abundance is reminiscent of the richness of nature, as well as its longing to escape the gravity. The repeated round wants to arrive gestubfully inward lynot without going to a place of satisfaction. A search remains, eternally reproducing, in the rhythmic-flowing movement, enjoying the movement itself. The colour radiates expressively and could be almost joyful due to its diversity, would not lie in the curvatures also some of the pain of existence. The painterly passion combines both. The courage to take the risk in the almost wild, sometimes intersecting gestures, in the sudden interruptions and rapid stratifications creates a balance to the sweet suffering of the often doubly bent and the soft blurs. The image tells an eventful story of an inner life-rich world, of bright dreams and is so honest that it is no longer just a sham of something.“
Lena Grewenig
Als bildende Künstlerin beschäftige ich mich mit Fragen von Körper, Identität und Transformation. Mich interessieren die Zwischenräume: das Unklare, das Prozesshafte, das Dazwischen. In meiner Arbeit kombiniere ich Malerei, Textil und Zeichnung – häufig mit Materialien wie Garn, Stoff oder Acryl – und erforsche dabei Spannungen zwischen organischen und mechanischen Strukturen.
Themen wie Geschlecht, Verletzlichkeit und symbolische Aufladung prägen meine Praxis. Der künstlerische Prozess ist für mich auch eine Form des Denkens: Ich dekonstruiere, vernähe, übermale und setze neu zusammen, um alternative Lesarten von Körpern, Rollen und Wirklichkeit anzubieten. Mein Studium der Freien Kunst an der Städelschule Frankfurt sowie meine Erfahrungen als Meisterschülerin haben meine Arbeitsweise geprägt – forschend, offen und materialbewusst. Ich möchte meine Praxis kontinuierlich weiterentwickeln, neue Kontexte kennenlernen und mich im Austausch mit anderen künstlerischen Positionen verorten.
Lilly Wiedemann
Als Kind war ich mit meinen Eltern immer in Museen (zugegebenermaßen war ich damals noch nicht so sehr daran interessant, anders als heute). Aber ich habe es schon immer geliebt, mich kreativ auszuleben. Ich brauche Kreativität einfach in meinem Leben. Was für Poeten die Worte sind, sind für mich die Gesichtsausdrücke der Personen die ich male.
Kunst ist für mich mehr als nur ein paar Pinselstriche. Die Emotionen und die Beziehung der Personen sprechen ihre eigene Geschichten. Die Motive sind selbst aufgenommene Bilder, die ich in ruhigen Brauntönen auf die Leinwand bringe. Ich wollte schon immer malen können wie die alten Meister. Ich romantisiere gerne Situationen und habe deshalb großen Gefallen daran, solche Momente festzuhalten. Momente, in der sich eine Person verliebt, verzweifelt ist oder Abschied nimmt. Die Augen sprechen Worte. Der Betrachter der Werke kann die Geschichten mit seiner eigenen Kreativität zum Leben erwecken.
Linda Domke
Linda Domke (*1993 in Germany) is a visual artist based in Hamburg.
Her paintings and sculptures capture fragments of her diverse social surroundings. She reflects on the unique pace, habits, and energy of the places and people she encounters.
Linda paints scenes that evoke warmth and timelessness, drawing from memories and small moments that offer an escape from the everyday hustle.
Starting with bold colors, she transforms those memories into vivid sceneries. Her art is a response to her own need for balance between calmness and curiosity, influenced heavily by her travels. The themes of arrival, adaptation, and returning home are central to her work.
She believes that all places have their own pace. Her interest lies in the intersection between her personal rhythm and the rhythms of the places she visits. Linda explores how we spend or waste time, and where we create islands of calm, excitement, and connection.
Lisi Wülfing
My colour fragments create a floating image, the flow of life, the flow of perceiving and influencing the world. The fragments stand for sensory impressions. I concentrate on feeling the world and using the language of colour to reconnect myself with the natural flow.
The flow symbolizes freedom, my life’s essence. Everything is connected with each other, so are the colours and the materials I work with in my paintings. With its strengths of colour and brightness my art celebrates life. My guideline is” focus on beauty and reality follows focus”.
Lufo Art
Lucas Fabian Olivero (b. 1985, Argentina) is a contemporary artist, PhD student in Digital Media Art, PhD in Design and Innovation, Architect and Building Engineer-Architect, based in Berlin since 2021. He exhibited in countries of America, Europe and Asia.
Lufo’s artistic realm builds from life experiences, travels and academic research, which he blends in hybrid (analogical/digital) art, all kinds of parallel and conical perspectives, and fully immersive handmade spherical and cubical perspectives. He created the installation “Spheri” to enhance the experience with VR drawings, allowing viewers to interact with them using body-tracking gestures. Some of Lufo’s art-practice-based research focuses on the paradigms of perception, which he materializes in dynamic, fluent, relative and never-ending artworks, right as he perceives that reality might be and worth living. Lufo’s art invites viewers to explore and experience multidimensional spaces, mixing architecture, mathematics, scientific illustration, handmade perspectives, digital art, and interactive media installations.
Luka Topp
In meiner Arbeit erforsche ich das spielerische Wechselspiel zwischen Realismus und Abstraktion anhand von Faltenwürfen. Meine Pastellkreiden ermöglichen sanfte Übergänge und die Illusion von Plastizität.
Die fein ausgearbeiteten Bereiche stehen aufgebrochenen, schraffierten oder offen gelassenen Bereichen gegenüber, wodurch eine Spannung entsteht. Der Faltenwurf verleiht dem Bild außerdem Dynamik und es tun sich Interpretationsspielräume auf.
Lynn Giesen
Meine Arbeit beschäftigt sich mit dem menschlichen Körper als Ausdruck von Identität und Verletzlichkeit. Das Gipstuch ermöglicht, eine Figur darzustellen, die physisch nicht präsent, aber dennoch sichtbar ist. Die im Fluss erstarrten Falten des Stoffes halten eine natürliche Bewegung fest und erzeugen eine stille Spannung zwischen Abwesenheit und Präsenz. Gleichzeitig beinhaltet die Arbeit einen stillen Nachruf auf Schutz.
My work explores the human body as a carrier of identity and vulnerability. The use of plaster fabric allows me to depict a figure that is not physically present, yet still becomes visible. The suspended, yet hardened folds of the fabric capture a natural flow of movement, creating a quiet tension between absence and presence. At the same time, the work carries a silent tribute to protection.
La Rue
Alejandra Caicedo (CO, 1996) ist eine afrolateinamerikanische Künstlerin mit
Schwerpunkt auf Malerei, Skulptur und Urban Art. Geboren in Cali, Kolumbien,
und derzeit in Hamburg, Deutschland, lebend, reflektiert ihre Arbeit über
Migration, Erinnerung und Identität.
Caicedo konstruiert vibrierende und dissonante Welten, in denen Schönheit und
Bruch aufeinandertreffen.
Ihre jüngste Serie, Probleme im Paradies, erforscht die
emotionalen Komplexitäten des Exils und schafft pastellfarbene Realitäten, in
denen Schmerz, kulturelles Erbe und Selbstbehauptung kollidieren. Eine
aufstrebende Stimme der lateinamerikanischen Street-Art, verbindet sie
Zärtlichkeit mit Konfrontation intensiv, aufgeladen und kompromisslos
persönlich.
M
Maik Vulgokai
My photography moves between freedom and limitation – creating spaces where people can feel themselves, open up, and rediscover who they are. Using water, color, light, and shadow, I craft honest, raw, and at the same time gentle images that invite self-acceptance beyond societal ideals.
Inspired by human gestures, glances, and personal stories, I accompany those who long to reconnect with themselves – in their truth, vulnerability, and strength. Every person can become a work of art.
Małgorzata Fonfria-Pereda
Motivation – Malerei als Sprache der Begegnung
Malerei ist meine Sprache – ein Dialog mit dem Anderen, ein leiser, doch eindringlicher Austausch über das, was uns im Innersten bewegt. In meinen Bildern verdichte ich Gedanken, Emotionen, Fragmente von Zeit. Der Mensch steht im Zentrum: seine Zerbrechlichkeit, sein Dasein im Übergang.
Ich male, um Spuren zu hinterlassen – nicht nur auf Leinwand, sondern im Bewusstsein der Betrachtenden.
Die leere Fläche wird zum Raum der Erinnerung, der Reflexion, des Erkennens. Ich halte fest, was vergeht – ein Moment, eine Geste, ein Licht im Schatten. Kontraste werden Träger innerer Wahrheiten, Figuren erzählen vom Unsichtbaren.
Was ich suche, ist das Wesentliche – das Flüchtige sichtbar machen, das Schöne bewahren, das Unerklärliche andeuten.
Stillstand der Zeit – vielleicht ist das die größte Sehnsucht meiner Arbeit.
Darum male ich. Darum erzähle ich mit Farben.
Mana Urakami
Reusing old photographs, focusing on natural patterns, and exploring memories buried in everyday life and anonymous perspectives.
Manou
To paint in order to give importance and value to things we take for granted in our daily lives — beauty whose poetry we stop appreciating, hidden behind routine. A bee resting on a fish, or a faithful boat patiently waiting to be used. Painting offers us a new perspective on what we see; it brings to life what seems empty or dead.
Manuel Aldunate
Manuel Aldunate is an Argentinean artist based in Berlin, whose work is defined by a vibrant use of color, rich layering, and a distinctive visual language made up of self-invented symbols. A graduate in Graphic Design from the University of Palermo in Buenos Aires, he blends mixed techniques with endless strokes and dynamic shapes to build a personal universe full of energy and depth.
Marek Swiatek
For this edition of HAAM, I present a selection of illustrations from an ongoing series exploring the idea of “free composition.” These works are an attempt to freely express the stream of thoughts currently occupying my mind. While intuitive and spontaneous in their creation, each piece is set within a wide frame—introducing a sense of structure and calm, and enhancing the overall composition. The presentation also includes a large-format painting from my regular collection.
Marie Mewes
Im Zentrum meiner künstlerischen Arbeit steht das Thema Befreiung. Der kreative Prozess ist für mich ein Raum, in dem gesellschaftliche Regeln, patriarchale Strukturen und vorgegebene Rollenbilder keinen Platz mehr haben. In meiner Kunst gebe ich dem Inneren eine Stimme – sie darf sich zeigen, ohne Zensur, ohne Vorgaben.
Es ist ein Akt der Selbstermächtigung, ein bewusster Schritt hin zur inneren Freiheit. Ich arbeite mit Fragmenten, mit Emotionen, mit Schichten. Intuitiv und ehrlich. Die Kunst wird zum Ort der Transformation.
Durch meine Arbeit durchbreche ich alte Muster und löse mich bewusst von Herkunft und Tradition. Es ist ein Akt der Selbstermächtigung, ein bewusster Schritt hin zur inneren Freiheit. Ich arbeite mit Fragmenten, mit Emotionen, mit Schichten. Intuitiv und ehrlich. Die Kunst wird zum Ort der Transformation.
Marissa Kimmel
My art focuses on playing with typography’s form and color, blending it with painting. I see typography as an artistic medium that adds a new dimension to art. Typically a precise tool for communication, typography becomes an aesthetic element in my work. Letters and symbols transform into abstract shapes and patterns, sparking dialogue about language, meaning, and perception.
In my work, the boundaries between design and art blur, creating an open space for exploration and interpretation.
Matthias Kühn
To me, metal is a nonverbal language—my language of choice. I am fluent in its dialects, jargon, slang, and its most formal expressions. What drives my work is the tension between the harsh and the soft-spoken qualities embedded in the material. Unlike spoken or written languages, metal does not require linguistic knowledge to be understood.
It is universal, relying instead on curiosity and a willingness to engage. It speaks through texture, weight, and form. While understanding it requires no vocabulary, expressing through it demands precision, clarity, and a high degree of eloquence. This paradox fuels my artistic process.
May Aurin
In my paintings, I strive to freeze the fleeting, often unnoticed moments that make up our daily lives. Whether it’s the worn-out comfort of a pile of dirty dishes after a gathering, —such as the way a foot curls in mid-step, the glassy aftermath of a celebration, the intensity of someone’s gaze, the sensuality of a gesture or face, or the intimate connection between light and a person’s form, my work draws from these spontaneous scenes.
Inspired by the candidness of snapshots and the unposed nature of real life, I focus on the details that evoke memory and emotion.
Through realism, I celebrate movement, gesture, and memory. The mundane becomes significant, and every face, every subtle action tells a story—inviting the viewer to step into a moment frozen in time.
Maya Gottlob
Cracks, roughness, organic shapes – her works embrace imperfection and invite us to feel the quiet power behind their fragile form.
Melanie Esklony
Die Magie historischer Bilder: Familienfotos aus fernen Zeiten; Menschlichkeit vor 100 Jahren und ausgelassene Freude, aber auch Nachdenklichkeit in einer ganz anderen, ruhigeren Welt. Das sind die Vorlagen für die Bilder von Melanie Esklony. Ihre Bilder – Öl auf Leinwand – erwecken Schwarzweiß zum Leben und übertragen alles in die Moderne. Dem Betrachter bleibt Spielraum, über sich und seine Geschichte nachzudenken.
Melanie Wilk
When I was in my apprenticeship for art therapy studies I had to create about 40 works for my final thesis. We had to connect to a famous artist we like. While trying around for a long time with my favorite artist Ernst-Ludwig-Kirchner I found my own understanding about my access to his work in the end.
Then I was finally getting into a process of something very deep and very personal that needed a lot of time to be understood by myself. Eventually I found my own way to express my inner needs and emotions within my drawings.
Merabi Danelia
My materials are plastics, plaster, metal and wood, my tool is a hot air blower. Doing my work is like a performance and every time different. The size
of my works is as big as it fits through the door. I get the plastic to flow by heating it to 600 degrees and changing its physical state.
The resulting
viscous matter melts and forms the shapes that the material decides. For me, the focus is on the painting process, in which I let myself be guided by
the picture that I want to create. I don’t think of a subject and I don’t know the result in advance. In my work, black does not necessarily mean
sadness, gloom or heaviness, but also liveliness and joie de vivre. I want to bring two separate worlds together, the inorganic, or the dead and the
organic or the living or more simply: death and life, the most elementary basis of our existence.
Mereth Zoe Müller
I started with photography around the age of 16, using those disposable film cameras you can buy at every drugstore. I quickly fell in love with the feeling of shooting film, the process of it, and the anticipation I feel each time I get my scans back from the lab.
The medium of film is truly inspiring to me, because of its variability, the creative freedom it grants me, and the unpredictability and individuality that each roll of film holds.
I try to depict a real, but still abstract picture of the world around me and its beauty. Most of my inspiration is found in nature and quiet, yet still beautiful moments of my day-to-day life. My works tend to carry a certain melancholy, which is only emphasized by the elegance and timelessness of black-and-white film.
Michael Dahl, IFKP
With the current series “Objects from the Intermediate Space” I am transferring visions and apparitions from transcendental states into the dimension of this world. For some time now, the transcendental states have often come while dancing. When I release in dance, I can lose myself completely and penetrate into other dimensions.
Especially when crossing borders, I often find a space flooded with visual stimuli. Sometimes I can take some of them with me. In my search for terms for this place or room, I came across Intermediate Space online, which fits very well. The passage through or access to this space often begins with faintly perceptible tunnels or holes that open up. These tunnels can then also be found in the installations and the reliefs. In some of my current works, I again use augmented reality to show fictitious levels that can only be hinted at with conventional representation.
Michael Goerner
Michael Goerner was born on the last day of the 60s. He is a new face on the international art scene. His mission is photographic visualization of emotions in the face of the profound change. He is driven by the search for truth and truthfulness. Since 2025 he has been a master student of Ludwig Rauch, Berlin.
Michael works in Hamburg/Germany, at Lake Constance and in Northern Italy. Stylistically Michael moves between minimalism, ICM and street photography. His role models include Antoine D’Agata, Francis Bacon, Daido Moriyama, Michael Ackerman and Martin Bogren.
Recently, his works have been presented in exhibitions in France, Germany, Greece, Switzerland, Italy and Great Britain.
Mike John Otto
My Art is a approach to transform fragments of design, moodboards, styleframes and layouts I do into analog Art Pieces. Most of the Work is a mixed media between sketches, painting and using a drawing robot that is controlled with processing scripts and feeded with assets of my commercial work.
Miriam Kraft
I’m an illustrator and painter from Hamburg. My work often depicts strange landscapes where various things converge. I like to arrange objects and plants like strange still lifes or incorporate an illustrative, narrative style into my work. I want my images to tell stories that can look different for everyone. They’re not always clear. Sometimes even a little morbid. I prefer strong colors that pop or create an ambiguous mood. I see art as entertainment, as a way to enhance life—not too serious, but hopefully inspiring.
Miriam Schimka – Captain Canvas
Past Meets Future on Canvas
With a heart for nostalgia, I discover old treasures in flea markets and attics. I transform them into new stories with retro-futuristic twist, breathing new life into these forgotten pieces. Each canvas carries its own story, a touch of vintage charm, and often original frames with patina.
Mokhtar Namdar
I am an Iranian filmmaker and photographer in exile. My photographic work is rooted in memory and absence, inspired by years of documentary storytelling in Iran and the distance that followed my migration. The images are quiet reflections—fragments detached from time or place.
Printed on cotton canvas, they evoke a tactile sense of longing and stillness. This series is not about nostalgia, but about the emotional residue of a life lived elsewhere, now suspended between worlds.
Monika Barth
BENEATH THE SURFACE (Soulscapes)
From my Fine Art series (20022-2024): radical subjective, fragmentary views of small areas seen on the ground right next to my house. Corona pandemics had made me stop travelling. Instead of searching for interesting or exotic motives and encounters at distant places, I found my subjects just on my walks through a rural neighbourhood, affected by floods and dryness, storms.
From my Fine Art series (20022-2024): radical subjective, fragmentary views of small areas seen on the ground right next to my house. Corona pandemics had made me stop travelling. Instead of searching for interesting or exotic motives and encounters at distant places, I found my subjects just on my walks through a rural neighbourhood, affected by floods and dryness, storms.
The fire of motivation was lightened on an early morning walk when I looked down and was struck by a sight. Immediately I got out my cellphone to catch the picture in this fragile, quickly changing scenery on the ground, for me a cosmos of elements.
From then on my attention was sharpened for more small universes: Reflections of clouds, sky, plants und mysterious spots of mud and stones underneath.
As I experienced large formate editions seem to open senses for dialogue, meditation, transformation.
Monika Kwiat
Monika, polnische Berliner Künstlerin, schafft abstrakte, vielschichtige Werke, die die Grenzen zwischen Verspieltheit und Verletzlichkeit ausloten. Ihre Arbeiten erforschen Themen wie Verbundenheit, Zugehörigkeit und das menschliche Dasein. Mit einem intuitiven, freien Schaffensprozess kombiniert sie konzeptionelle Ideen mit einem meditativen Fluss und kreiert Kunst, die gleichermaßen durchdacht und spontan ist.
N
Nathalie Louisa
Für mich ist Malerei weit mehr als ein ästhetisches Medium – sie ist eine Sprache für das Unsichtbare. Kunst begleitet mich seit meiner Kindheit und ist zu einem zentralen Teil meines Lebens geworden. In meinem Hamburger Atelier nutze ich die Kraft von Farben und Formen, um emotionale Zustände zu verarbeiten und innere Landschaften sichtbar zu machen.
Meine abstrakten Arbeiten entstehen im Spannungsfeld zwischen Intuition und Komposition. Organische Strukturen, leuchtende Acrylfarben und textile Eingriffe treffen auf grafische Elemente und klare Flächen. Es geht mir nicht um eindeutige Lesbarkeit, sondern um das Erspüren: Jedes Werk lässt Raum für Assoziationen und lädt dazu ein, sich in die Tiefe der Farbschichten zu verlieren.
Nathalie Theo
I work primarily with my hands and use them as a bridge between emotion and expression. In this in-between space, I practice what I call postmodern enlightenment: I question the rules and assumptions of society without replacing them with new ones. I aim to create a beauty that is unconditional — one that is not bound to rigid interpretations of art. A beauty that doesn’t depict with sharp limitations, but opens up space for freedom of thought and perception.
Soft paintings with a bold message emerge. Though delicate and subtle in appearance, they carry a clear statement: I invite the viewer to look closely, to perceive the nuances, and to reconnect with their own sensitivity. It’s a gentle yet radical act — letting go of imposed rules, peeling back the layers of meaning, and uncovering the world not as it is told to us, but as it might truly feel to us.
Nico Rivas
“Nicolás Rivas (1987) is an Argentine photographer and filmmaker based in Berlin. His work explores the poetics of everyday spaces—urban corners, empty streets, and quiet landscapes—where light and geometry create accidental compositions. Often starting from a documentary approach, his photographs drift toward abstraction, capturing textures, shadows, and colors that suggest something beyond the visible.
Nina Rössing_Gallwitz
My motivation in creating art is the deep hope to uplift a moment in the observer`s time and to give some space for reflection and trust in life. The focus rests on life’s optimism, beholding its many facets, perspectives, and the beauty shining through it all. Therefore I often work with reflective materials or shining edges, etc. Furthermore, it is the fascination with words that continually flows into my work — either as script art or through the titles, which become part of the artwork itself.
Nina Santamarina
Mein Hauptmaterial sind Plastiktüten – Ich spiele mit der Schönheit und der Gefahr, die von Plastik ausgeht.
Meine Werkserie „Korallenbleiche“ besteht aus hunderten weißen Plastiktüten, die ich durch Knüpfen in biegsame Soft-Ornamente verwandle. Die Transformation dieses alltäglichen, toxischen und menschengemachten Materials, ist ein Akt der Wertschätzung, sowie ein Nachdenken über die Schönheit und Fragilität natürlicher Geflechte.
Die Plastik-Korallen sind resistent und erinnern in ihrer Struktur an ihr natürliches Vorbild. Ihre Farbe und skelettartige Struktur verweisen auch auf die Verletzlichkeit und Bedrohung dieses Lebensraumes – die Korallenbleiche.
Meine Arbeitsweise ist intuitiv, ich finde Formen, während ich sie mache. So gehe ich auch bei meinen Zeichnungen vor, die immer Vorläufer meiner dreidimensionalen Arbeit sind. Ich lege meine Schraffuren ohne Plan aufs Papier und lasse sie sich in einem stundenlangen Prozess verdichten. Aus diesen feinen Linien (0,4) ergeben sich Rhythmen, die Räume, Landschaften und ganze Universen definieren.
O
Olaf Schroeter
There are two works: on the one hand the theme of diversity expressed through a series of people and on the other hand drawings that were created during my illness with cancer.
Orvis St. John
Orvis, a visionary sketch artist, crafts captivating imagery that transcends time. Using colored pencils, he explores a fascinating paradox: human cyborg portraits rendered with a deliberate, primitive style. It’s as if a pre-technology hand, untouched by modernity, glimpsed beings from the future and immortalized them with elemental tools.
This powerful juxtaposition of advanced subject and raw technique defines his unique voice.
His portfolio also captures dynamic scenes of swimming and surfing, reflecting the fluid, unconstrained spirit deeply influenced by his background in board sports. Orvis rejects mere replication, emphasizing experimentation, color, and composition as the core of his creative process. His work leaves a profound, lasting impression, inviting viewers to ponder a future seen through the echoes of the past.
P
Paula Kirsten
The creative process not only serves to regulate emotions, but also enables me to place individually experienced feelings in a broader context, thereby making them collectively accessible. Internal states are not conceived autonomously, but are always considered in relation to omnipresent social power structures. Not making any sketches in advance, the act of creation empowers me to give up the need for control over any outcome.
Paula Krause
In meiner Malerei beschäftige ich mich mit den Wahrnehmungen gegenwärtig forcierter Themen und dem ewig Menschlichen – Macht, Liebe, Rebellion. Oft beobachte ich die Widersprüche der modernen städtischen Welt als vereinsamend und gewaltvoll und sehe in der Malerei einen freien Raum, der nicht durch Trends und Aufgezwungenes okkupiert ist, sodass eine Rückkehr zum Eigenen – zum Selbst – möglich ist.
So gibt es zum Beispiel zwischen Habitat und Ästhetik einunsichtbares Band, dass Wirklichkeit und Meinung erzeugt.Dieses Durchbrechen der Strukturen, in denen Menschen leben, die sie ablehnen oder befürworten oder mit scheinbarer Neutralität begegnen – folgt immer einer intrinsischen, zumeist unbewussten,Motivation. Diese von der Persona vorgezeigten Projektionsflächen zu durchdringen, ist der Beginn der inneren Freiheit und Selbstermächtigung.Der Schatten dieser Projektion ist für mich die wesentliche und spannende Form – die ich entdecke und an die Oberfläche hole.Diese malerische Auseinandersetzung gibt mir die Möglichkeit Beschleunigtes zu verlangsamen und Überwältigendes zu differenzieren. So erfahre ich eine Vertiefung in existentielle Fragen und bewege mich konträr zu allgegenwärtigen Suggestionen, welche in ständigen Wiederholungen als vermeintliche Wahrheiten erscheinen.Meine Malerei soll ohne Angst den ganzen Menschen zeigen.
Pavel Gempler
My figurative painting, with its constant reference to art history, is a reaction to the immediate, subjective present. My practice is influenced by different art historical movements and is complemented by classical forms, abstract elements, surrealism, historical and pop culture references.
This mix creates an ambiguity that is embodied in every motif and in the spaces that encompass each character. The representation of bodies and objects in my works shows ambivalences that require the viewer to position themselves in relation to the medium of painting.
Pepita Glück
My practice centers around figurative painting, particularly still life and female portraiture, as a way to explore identity, desire, and everyday life from a feminist and migrant perspective.
I work with compositions that combine flowers, food, domestic objects, books, or games, creating images filled with color and emotion, but also with irony and reflection.
Through these elements, I seek to build a visual bridge between my Spanish origins and my life in Germany, between the Mediterranean and Central Europe and the intimate and the public.
My paintings celebrate the everyday without idealizing it: a set table, a sliced fruit or a woman holding the viewer’s gaze. These seemingly simple scenes, when looked at closely, reveal layers of meaning related to belonging, femininity, memory, or cultural hybridity. I often include details that serve as personal nods, always keeping a sense of humor. I paint from a position that is not neutral: as a woman, as a migrant, as an artist who has learned outside of academic frameworks.
Pia Isaia
Pia Isaia is an Argentinian artist based in Berlin. Graduated in Fine Arts from the National University of Rosario, her career has since focused on ceramics. She has participated in various academic projects, both formal and informal.
The TRIPOLAR PROJECT which combines recycled lampshades and stoneware ceramics arise from her recent migration, where she urgently needed to find an imaginary third point where she felt drawn to Earth in order to inhabit an internal sense of stability.
Each ceramic lamp is an unique piece because they are designed in relation to what she finds to redefine.
Pia-Rosa
My artistic work moves between heaven and earth, between the spiritual and the deeply human. This range is reflected in my works – sometimes in earthy tones and organic forms, sometimes in abstract, geometric compositions with more vibrant colors.
A central concern of my work is reduction: to make the essential visible and to create spaces of stillness and centering. In a fast-paced, overstimulated world, it is important to me to create places that invite calm, introspection, and pause.
At the same time, I am deeply engaged with our connection to the earth – to our origins – and with the question of how we can regain a deeper appreciation for earth, our all origin and the natural. My spiritual quest is always, for me, also a profoundly human engagement with myself, with my place in the world, and with others.
I hope that my art can be an impulse – for others to also embark on their own inner journey, to pause, to reflect, and to feel connected.
Piece of Vulva
Piece of Vulva is the result of over a decade of exploration across art forms, materials, and cultures. With a background in visual communication and experience in design, I’ve always been driven by a need to express meaningful ideas through art. Raised in a strong feminine surrounding, I’ve long felt a deep connection to the symbolism of the vulva.
To me, it represents strength, beauty, and the urgent need to break societal taboos. Each piece I create is handmade, unique, and built with care, using thoughtfully chosen materials, frames, and colors. My work is about more than visual impact—it’s about creating space for conversation, recognition, and change.
R
Radosław Rafalski
My artistic practice in recent years has been focused on learning the craft of glassmaking. With the help of my father, who is a professional in this field, I have learned methods of glassblowing, casting using the fusing technique and stained glass processing. At first, I only designed functional objects.
Over time, I became fascinated with creating various abstract, non-utilitarian forms, inspired by the world around me. Two years ago, I became very excited about Impressionist figurative art. I started sculptural studies at the Academy of Fine Arts in Antwerp. Since then, I have been exploring physical phenomena, their visual reinterpretation, and the construction of artistic concepts. Currently, I am experimenting with the use of radio waves and other physical phenomena in my practice. I create kinetic sculptures using elements of artistic glass and self-made mechanisms. Furthermore, my interest in the human body continues to deepen. I sculpt many smaller sketches based on a living models and portraits, which will later be cast in glass using the lost-wax method.
Regina Lieske
To me, color and form are not just means of reproducing reality, but also means of communication. Instead of depicting the world as it is, I creating my own pictorial reality and space. Reducing form plays a decisive role in this process. By simplifying form, color reveals its own meaning. I am interested in the psychological and physiological aspects of color.
How do people perceive colors? What associations and emotions are evoked by a particular color choice? How do color surfaces relate to and influence each other?
Farbe und Form sind für mich Kommunikationsmittel, die über die bloße Wiedergabe der Realität hinausgehen. Für mich ist es nicht wichtig, die Welt so darzustellen, wie sie ist, sondern vielmehr darum, eine eigene Bildrealität und einen eigenen Bildraum zu schaffen. Dabei spielt die Reduktion der Form eine maßgebliche Rolle. Durch die Vereinfachung der Form kann die Farbe ihre eigene Bedeutung entfalten. Mich interessieren dabei die psychologischen und physiologischen Aspekte der Farben. Wie nehmen Menschen Farben wahr? Welche Assoziationen und Emotionen werden durch eine bestimmte Farbwahl evoziert? Wie verhalten sich Farbflächen zueinander und wie beeinflussen sie sich gegenseitig?
Regine Wolff
In my paintings I want to expose the separation of man and nature as an artificial
construct. I am concerned with the unity that we form with our world, that the most
diverse manifestations are always based on the same elements, which are infinitely
varied and we can recognize ourselves in everything.
For my works, I often use print experiments that were created during my work as a
textile designer. In patterns I am interested in the repetition, through which a kind of
infinity is created and at the same time a reassuring order in an incomprehensibly
complex world.
My relationship with painting is poetic, dramatic and emotional.
I want to trigger these intense feelings in the viewer too.
Renata Müller-Tiburtius
In meinen Arbeiten halte ich absurde oder humorvolle Alltagssituationen fest – flüchtige, oft übersehene Momente, die etwas über unser Zusammenleben erzählen. Mich interessiert das Skurrile im Gewöhnlichen, das Komische im Chaos. Mit leuchtenden Farben, eigenwilligen Kombinationen und einer offenen, experimentellen Malweise – zwischen Collage, Acryl und Öl – entstehen Bilder, die sinnlich, verspielt und zugänglich sind.
Humor ist für mich dabei ein wichtiges Mittel, um Nähe zu schaffen, Irritation zuzulassen und die Grenzen zwischen Privatem und Gesellschaftlichem aufzuzeigen. Mein Ziel ist es, mit Malerei einen Raum zu schaffen, in dem Alltagsbeobachtungen neu gelesen und emotional erfahrbar werden – manchmal überzeichnet, manchmal zärtlich, aber immer mit dem Blick für das Menschliche im Detail.
Rike Maerten
Inspired by urban walls, Rike Maerten creates her collages with the remains of posters from past events and lets them grow into something new on the canvas. Sourcing the fragments is part of her creative process. From the outside in, the more fragile the better, always colorful and chaotic. It is no coincidence that the hidden object-like creations sometimes contain only fractions of a word and sometimes complete words of simultaneities.
Her work is driven by nostalgia, FOMO and the desire for change, but above all a love of imperfection. This also applies to her acrylic paintings, which sometimes doubtful, sometimes hopeful, give a brief intimate insight into her emotional world. Rike is from Hamburg and works mainly as a freelance dramaturge and production manager in the theater sector. She last showed her collages in December 2024 as part of the group exhibition “so in der ART!” at Jupiter (rip).
Robert Schröder
Robert Schröder is a Hamburg based artist. Having spent most of his time in independent sub-cultures, his pictures are related to the aesthetics of urban art, but also play around with aestheticism – polished with his love for clean design. Animals, ghosts, collages, placeholders or new beginnings. Coincidence or construction. The hidden secret or the childlike game. The picture as alleged manifestation of the moment. From the poetic play of our self or the shaping of our world.
Rosina Rosinski
Rosina Rosinski, born in 1989 in Dortmund, Germany, is a multidisciplinary artist currently based in both Dortmund and Berlin. Her practice spans painting and fiber art, working primarily with acrylic on linen, and various quilted fabrics such as latex, velvet, faux leather, and cotton.
Rosinski’s work centers on the abstraction of the female body and the complexities of self-perception. Her portraits explore how the body is physically defined—by muscles, limbs, and bones—while simultaneously questioning how it might appear through the lens of personal emotion or imagined external views. She is best known for her distinctive figurative language that portrays larger-than-life, strong female figures situated within compressed interiors and still lifes which become scenes of symbolic withdrawal. Rosina Rosinski has exhibited her work at Galerie Norbert Arns in Cologne, Field Projects in New York, and Eve Leibe Gallery in London. She is a 2023 finalist of the Hopper Prize.
S
SAAARA
I am a Colombian artist based in Germany. My work unfolds through an intimate and spiritual language of the body—where movement, gesture, and form become portals to inner worlds. Through performance, dance, sound, photography and painting, I explore the space where the personal meets the collective, the earthly meets the ethereal, the visible meets the unseen.
My practice is a continuous inquiry into the human mind and its sacred connection to the Earth, nature, and the invisible worlds. I am deeply interested in how cultural and spiritual forces shape our ways of being, feeling, and evolving. The subconscious, fractals, and energetic currents flow through my work, revealing emotional landscapes and ancestral memory.
In each piece, the body becomes a vessel for transformation—speaking of birth and death not as ends, but as sacred cycles. I move through themes of somatization and the dissolution of identity, toward rebirth, remembrance, and the expansion of the self. My work reflects the journey of living far from my roots, and the spiritual awakening that comes from losing and finding oneself again.
Sabine Beisert
Meine Werke sind eine Hommage an die Schönheit und Vielfalt der Natur, sowie an das Leben in all seinen Facetten.
Die Inspiration finde ich in der Natur mit ihrer Farbenpracht, ihren flüchtigen Momenten und der stillen Kraft. Geprägt von Intuition und Emotion entstehen meine abstrakten Werke im Dialog mit dem Gefühl des Augenblicks.
Meine Arbeiten bestechen durch faszinierende Kontraste zwischen kräftigen und zarten Partien. Intensive Farbereiche, die durch satte Töne und markante Flächen hervortreten, stehen im Spannungsverhältnis zu sanft verwoben Farbverläufen. Dieses Wechselspiel erzeugt eine visuelle Balance zwischen Intensität und Zurückhaltung. Die feinen Linien stehen für zarte Verbindungen, die einzelne Bereiche subtil in Beziehung setzen.
Ich verstehe meine Kunst als eine Einladung zum Innehalten – zum Erspüren von Schönheit jenseits des Sichtbaren. Meine abstrakten Werke erzählen keine fertigen Geschichten, sondern öffnen Räume, in denen sich die Betrachtenden selbst wiederfinden können.
Sanja Henning
The works of Sanja Henning navigate the tension between personal experience and societal reflection. Her aim is to make visible sensations that resist verbal expression—without explaining them. Through a reduced yet intense visual language, she consciously creates space for individual interpretation and understands her works simultaneously as an impetus for interpersonal dialogue about the perception of the human body.
Santiago Mac-Auliffe
Mis personajes nacen de un proceso introspectivo, donde examino mis propias experiencias, emociones y pensamientos. Open Mind surgió como una representación visual de la búsqueda interna y el deseo de expandir los límites del pensamiento. Estos personajes no solo son representaciones de mí mismo, sino que también son una reflexión sobre las muchas facetas de la personalidad humana.
Sarah-Lena Rickert
In meiner Arbeit untersuche ich Übergänge – feine, oft übersehene Momente zwischen Form und Auflösung, zwischen Realität und Traum. Die menschliche Figur erscheint dabei nicht porträthaft, sondern als symbolisches Fragment in einer poetisch verfremdeten Bildwelt.
Ich arbeite auf handgeschöpftem Büttenpapier, das durch seine Struktur meine Arbeitsweise prägt. Die erste Schicht entsteht mit Tusche – spontan, flüchtig. Darauf folgen langsame, überlegte Prozesse mit Gouache, Zeichnung und Collage. Linien verschwinden, tauchen wieder auf. So entsteht ein Spannungsfeld zwischen Intuition und Reflexion, zwischen Zufall und bewusster Setzung.
Mich interessiert das Wechselspiel zwischen Struktur und Leere, zwischen Präsenz und Vergänglichkeit. Durch eine reduzierte Farbpalette und gezielte Akzente öffne ich Räume, die still sind und doch wirken – offen für das Unausgesprochene.
Meine Bilder wollen nicht erklären, sondern erfahrbar machen. Es sind Zwischenräume, in denen Wahrnehmung sich vertiefen kann – leise, offen, vielschichtig.
Mich interessiert das Wechselspiel zwischen Struktur und Leere, zwischen Präsenz und Vergänglichkeit. Durch eine reduzierte Farbpalette und gezielte Akzente öffne ich Räume, die still sind und doch wirken – offen für das Unausgesprochene.
Meine Bilder wollen nicht erklären, sondern erfahrbar machen. Es sind Zwischenräume, in denen Wahrnehmung sich vertiefen kann – leise, offen, vielschichtig.
Silke Zernik
The energy that my works radiate is the result of a constant search
– a search for the perfect expression of the dynamic between colour, light and
form. The combination of graphic and free forms in my paintings reflects the
complexity of the human experience. Sometimes flowing and intuitive, sometimes
clearly and structured, they tell of the constant movement between order and chaos, between the conscious and the unconscious.
My art is a dialogue – not only between me and the medium, but also with you, the viewer. Each work invites you to look at the world from a new perspective and to explore the infinite possibilities of your own creativity. It is an ongoing conversation that is never finished, but raises new questions and seeks answers with each work
.
It fills me with joy when my art touches your innermost being and opens up new spaces for
thoughts, emotions and inspiration.
Simon Findlay
Simon Findlay focuses on his personal relationship with colour through exhaustive durational visual expression.
Sofia Nordmann
The German-Argentinian artist lives in Berlin. She presents philosophical content with a very unique technique. Her concern is the hidden, the metaphysical level behind the visual and the layers of reality that have a great influence on us, although we cannot perceive them with our five senses.
Her concern is the processes of reality creation and unconscious communication. She cuts her handwritten texts and paintings on transpartemt paper and constructs new 3dimensional objects out of it, in order to hide the original content and only showing the new created form.
Sofia Seidi
Sofia Seidi 1997 is a native of Madeira Island with Guinean ancestry. She attended the Francisco Franco secondary school in Funchal and finished her degree in Painting at FBAUL in 2019. She also attended the StrzemińskiAcademy of Art in Łódźas part of the Erasmus+ program in 2019.
In 2022 she was an intern at GaleriaPorta 33 in Funchal, and in 2023 she was an intern at the BuchheimMuseum in Munich, Germany, as part of the Master’s Degree in Cultural Heritage and Museology at FLUC where she curated “The Other Side of The Moon”- a collective exhibition.
Sofia is currently based in Hamburg where she studies and works. She’s enrolled on the Master of Fine Arts on HFBK.
Stanislaus Hergert
Born in Russia and growing up in Germany the love for art became a guiding path through my biography of migration and finding a new home.
I started my professional career in Design after receiving a degree at the University Pforzheim School of Design. Later I worked in Art-Direction on various subjects.
My paintings emerge from the tension between visual clarity and emotional openness. With my reduced compositions of color and shape I unfold a space for memory and association.
The figures and objects I depict never fully settle into reality. They linger like fragments of memory surfacing in abstracted environments. Often it is just a moment, a glance, an object that sets something in motion. A personal story, a forgotten feeling, a vague recollection.
My work is a visual echo. A dialogue between what is seen and what resonates within.
Stella Iakovleva
Visual artist, working with documentary and art photography, archives, collages, book format and creates objects.
My art practice focuses on collecting and exploring themes of movement in conceptual way «Move to live», the perception of memory, and the boundaries between reality and imagination.
Stephan Zarmann
My work is inspired by the beauty found in overlooked places—peeling walls, worn surfaces, and the quiet details of city life. Having lived in major cities across Germany, Sweden, and the UK, I’ve developed a love for the textures and stories hidden in urban spaces.
Through abstract layers and subtle marks, I try to capture a sense of time passing and the memories cities hold.
I hope my work brings a small moment of connection or reflection to those who live with it.
STEPHANIE TOST
My artistic practice explores the tension between boundaries and connection. Through abstract landscapes, graphic compositions, folkloric influences, typography, and abstract portraiture, I examine how layers (visual and emotional) interact, overlap, and reveal.
At the core of my work lies a continuous inquiry: Where do we need separation, and where can openness begin? What protects us, and what isolates us?
Though my visual language varies, all of my work is rooted in the same exploration of unity, identity, and perspective. I use diverse techniques to approach these questions from multiple angles, seeking not definitive answers, but space for reflection.
My studio doubles as a gallery space, where I present originals, prints, postcards, personalized greeting cards, and commissioned work. Whether in a portrait or a typographic piece, each work invites quiet engagement and emotional resonance.
My studio doubles as a gallery space, where I present originals, prints, postcards, personalized greeting cards, and commissioned work. Whether in a portrait or a typographic piece, each work invites quiet engagement and emotional resonance.
Studio Petters Batz
Das Hamburger Künstler*innen-Duo Vadim Batz und Nina Petters ist nicht nur durch die gemeinsame künstlerische Praxis verbunden, sondern auch durch eine partnerschaftliche Lebensgemeinschaft. In ihrer aktuellen Arbeit erkunden sie die Möglichkeiten nonverbaler Kommunikation – durch keramische Wandarbeiten, die sowohl individuelle Handschriften
als auch ein gemeinsames ästhetisches Vokabular offenbaren.
Was geschieht, wenn zwei eigenständige künstlerische Positionen durch das Medium Ton miteinander in Dialog treten – jenseits des alltäglichen Familienlebens und doch tief darin verwurzelt? Es entstehen klein- bis mittelgroße keramische Wandobjekte, die in ihrer Anmutung zwischen herrschaftlicher Präsenz und intimer Nähe oszillieren. Manche Werke präsentieren sich mit klaren, fast ikonografischen Gesten, während andere familiäre Szenen in abstrahierten Zeichnungen andeuten – fragile, humorvolle und gleichzeitig kraftvolle
Erzählungen über Nähe, Zusammenhalt und Differenz.
Diese Werke sind eine Einladung, sich auf die leisen, aber eindringlichen Töne einer künstlerischen Partnerschaft einzulassen, in der das Material ebenso spricht wie das Leben selbst.
T
Tatiana Lazareva
Tatiana Lazareva’s minimalism is a rebellion against visual noise. By stripping portraiture to its emotional core, she amplifies presence and intensity. Her work explores how little it takes to evoke everything, where absence becomes a mirror and what remains is raw, essential and strikingly human.
In her contemporary portraits, Tatiana redefines intimacy, creating space for silence and an inner dialogue between viewer and subject. In her recent series, she moved further into the challenge of pure minimalism to prove that less is more.
Tatjana Koster
In meinem Arbeiten erforsche ich das menschliche Bild als Träger von Erinnerung, Erfahrung und innerer Spannung. Durch die Verbindung von Malerei, Stickerei und Textiltechniken entsteht ein vielschichtiges, haptisches Porträt. Mich interessiert das Gesicht als Symbol – verzerrt, fragmentarisch zusammengesetzt – als Metapher für Rekonstruktion, Trauma und historische Spuren.
Stickerei, Perlen und Nahtlinien brechen die Illusion der Ganzheit und fügen eine zusätzliche Bedeutungsebene hinzu.
Mein Stil verbindet Realismus mit formaler Abstraktion, Dokumentation mit Symbolik. Er lebt von der Spannung zwischen Körper und Form, zwischen Sichtbarem und Verdecktem.
Termeh Yaghoubi
[Looking for Godot ] is a collection inspired by the mysterious world of Samuel Beckett and the symbolic art of the Saqqakhaneh movement—a journey from destruction to awakening. The characters, shaped by loss like migration, love, or oppression, come to realize that their gender, name, and beliefs were imposed on them before they had a chance to choose.
Among them, a woman rises—not waiting to be saved, but seeking to find herself. She reaches for the forbidden fruit—not out of sin, but from a thirst for knowledge—and with this rebellion, a new life begins. She takes the first step toward freedom and changes the world.
This person pays a heavy price for standing against narrow rules—exile, threats, and rejection—but never stays silent. She becomes a voice of awakening.
Horses, birds, and fish each carry qualities linked to her and every awakened rebel.
Timo Frank
Dies ist der 3. Teil meiner Trilogie Floating/Falling/Impact. Die Arbeit konzentriert sich auf den Ausdruck des Körpers in
einem einzelnen Moment. Es ist der erste Moment des Kontakts eines fallenden Körpers mit dem Boden, aber es gibt
keine Bewegung, keinen Anhaltspunkt über Geschwindigkeit oder Fallhöhe.
Torsten Meyer
Torsten Meyer ist Künstler aus Hamburg. In seinen Arbeiten treffen Farbkraft und emotionale Tiefe direkt aufeinander. Seine Werke entstehen intuitiv, getragen von Stimmungen, Erfahrungen und dem Wunsch, Unsichtbares sichtbar zu machen. Es geht ihm nicht darum, Realität abzubilden, sondern darum, sie emotional zu durchdringen.
Mit jedem Bild lädt er ein, in eine eigene Welt der Farben einzutauchen. Die Farbexplosionen auf der Leinwand stehen für Energie, persönlichen Wachstum, Positivität und Freiheit. Dabei bleibt Raum für die eigene Wahrnehmung und Projektion.
Seine Arbeiten sind bereits in mehreren Privatsammlungen vertreten und spiegeln die Vielschichtigkeit menschlicher Emotionen wider. Kunst ist für ihn ein Dialog zwischen ihm selbst, den Kunstwerken und den Betrachtenden. In diesem Dialog liegt die Magie seiner Malerei.
TOTEM
Santiago de Chile
FRANCISCO TOTEM PEREZ IS A CHILEAN ARTIST BASED IN BERLIN FOR ABOUT 17 YEARS. THE ORIGINALLY TRAINED THEATRE ACTOR AND STAGE DIRECTOR BRINGS HIS EMOTIONS , THOUGHTS AND THE MADNESS OF THIS PULSATING CITY IN HIS ARTWORKS. THE RESULTS IS A MIXTURE OF ABSTRACT HUMAN-ANIMAL SYMBIOSIS WHICH ARE ALREADY INTERNATIONALLY KNOWN.
FRANCISCO TOTEM PEREZ IS A CHILEAN ARTIST BASED IN BERLIN FOR ABOUT 17 YEARS. THE ORIGINALLY TRAINED THEATRE ACTOR AND STAGE DIRECTOR BRINGS HIS EMOTIONS , THOUGHTS AND THE MADNESS OF THIS PULSATING CITY IN HIS ARTWORKS. THE RESULTS IS A MIXTURE OF ABSTRACT HUMAN-ANIMAL SYMBIOSIS WHICH ARE ALREADY INTERNATIONALLY KNOWN.
THE SITUATIONS AND THE SETTING
OF THOSE CHARAKTERS ARE EXPRESSIONS OF HIS INDIVIDUAL VIEW OF OUR SOCIETY AND ITS CURRENT EVENTS AND HAPPENINGS. ONE
OF THE MAIN CHARACTERISTICS OF HIS ARTWORKS, INSTALLATIONS, SCULPTURES OR FURNITURE IS IN USING RECYCLINGMATERIAL. THESE
INCLUDE REMAINS OF MATERIAL FROM TRADE SHOWS LIKE ADVERTISING BANNERS OR VARIOUS CONSTRUCTION MATERIALS AND
TREASURES THAT CAN BE FOUND ON THE STREETS OF BERLIN. ALL CANVASES ARE HAND DRAWN AND HANDMADE
Turk
In meinen Bildern und Zeichnungen geht es um Beobachtungen, die andauernde Findungsphase eines jungen Erwachsenen, dessen Interessen breit gefechert sind. Gegenstände, wie vor allem Stühle und auch Tiere, wie vor allem Fische und auch die Auseinandersetzung mit dem “Selbst” inspiriert von Horst Janssen sind zentrale Themen bei mir.
U
Ulla Kutter
My oil painting technique is based on the old Dutch masters, such as Vermeer.
My choice of motif is explained by my proximity to street art and my everyday life in the city. The city is broken, chaotic and at the same time shiny and bright. The perception of my surroundings is shaped by the focus on disharmonious compositions and their aesthetics.
The path to the final motif in the painting begins with an idea that has its origins in my everyday life in the city.
Depicting everyday situations using a painting technique based on Vermeer’s strategy is part of this disharmony. The process of color-sensitive, soft, slow painting contrasts with the speed and indifference of everyday life.
With the Paintings I create an opportunity for a different perception
V
Vadim Batz
As a keen observer of contemporary influencer-culture, Hamburg based artist Vadim Batz was quick to realize that handtufting rugs could be way more than just a hashtag on instagram. Born and raised in Astania – Kasachstan, Vadim’s visual environment merges folklore, post-soviet Power-rangers bootlegs and – as found in many kasachian homes – colorful carpets, to isolate as well as to decorate walls and floors. His ACIDTRIP – GONE WRONG TAPESTRY™ quotes pop- and high culture, from the mystic age of William Blake to the bloodsoaken battlefields in Warhammer 40K.
Vanessa Marscholek
I study Art Therapy (B.A.) at the Medical School Hamburg, Campus Arts and Social Change. My artistic work reflects my passion for painting and my deep interest in social and therapeutic impact. Through figurative oil painting, I explore themes of female freedom and independence, subjects that are both personally meaningful and closely tied to my therapeutic perspective.
I believe that art creates powerful spaces for self-expression, healing, and empowerment, especially for those who are often unheard. I have already gained experience in designing and leading art therapy-based sessions and currently volunteer at Habibi Atelier, a social and inclusive art space in Hamburg. There, I organize nonprofit exhibitions, one of the highlights being “You Are My Star”, an event supporting the Sternenbrücke Children’s Hospice. For me, painting and art therapy are interconnected practices that allow people to reconnect with themselves and with others through creativity.
Vanessa Pump
Die Hamburger Künstlerin Vanessa Pump kreiert abstrakte Werke, die mehr sind als nur Farben auf Leinwand. Mit einem feinen Gespür für Farbklänge und gezielten Kontrasten verleiht sie ihren Arbeiten Harmonie und Spannung. Ihre Inspiration schöpft sie aus Reisen nach Italien und Fernost, deren Einflüsse sich in warmen, einladenden Tönen widerspiegeln.
Mit jedem Pinselstrich fängt sie Momente ein, die Geschichten erzählen – von Orten, die sie berührt haben, und von Gefühlen, die sie bewegen, sei es die Erinnerung an sonnendurchflutete Landschaften Italiens oder an einen besonderen Augenblick am Mekong. Vanessas Kunst lädt dazu ein, eigene Bilder im Kopf entstehen zu lassen. Ihr Portfolio reicht von großformatiger Leinwandkunst über die besondere Vintage Fusion Collection bis hin zu Mini Artworks.
Verena Joist
Creating art is my way of capturing the beauty I encounter – often inspired by sunsets, the ocean and the changing shapes and colors of nature. I interpret these impressions into abstract, minimalistic works, creating depth while leaving space for viewers to experience them in their own way.
Art brings me balance alongside my full-time job, offering a place to slow down. I am driven by the joy of bringing ideas to life and collaborating on inspiring projects with others. My work invites people to pause, reflect, and discover their own sense of beauty and meaning within it.
Verónica Costa Amador
In meiner Serie Topografie des Unbewussten beschäftige ich mich mit inneren Prozessen und emotionalen Zuständen in einer abstrakten Bildsprache. Die Werke entstehen ohne vorherigen Entwurf in einem intuitiven Schichtverfahren. Organische Formen und feine Strukturen stehen für fließende Gedanken, innere Spannungen und mentale Verknüpfungen.
Ich mache das nicht Sichtbare , wie Wahrnehmung, Wandel und unbewusste Muster, visuell erfahrbar. Die Serie ist Teil einer persönlichen Auseinandersetzung mit psychologischer Tiefe und lädt zur Reflexion über eigene innere Räume ein.
Vivia Wisperwind
Vivia Wisperwind is a berlin-based designer and artist. She’s known for her photorealistic acrylic paintings on canvas. Some time ago she made the conscious decision to stop using black.
Instead, she mixes her palette with the three primary colors magenta, cyan, yellow and white to create a remarkable vibrancy and depth in her works.
She explores freedom and wellness by depicting water, plants, animals and food. Vivia’s paintings invite you to relax and enjoy the beauty of life.
She explores freedom and wellness by depicting water, plants, animals and food. Vivia’s paintings invite you to relax and enjoy the beauty of life.
W
Walentyna Shaiko
My work explores the tension between euphoria and chaos through the lens of rave culture and visual overload. I’m drawn to symbols of collective joy such as smiley faces, vibrant colors and repetitive patterns, and I deconstruct them to reveal the emotional undercurrents beneath. Influenced by hard techno, I work in a trance-like state, allowing rhythm and intensity to shape each piece.
My technique is rooted in décollage, where tearing and layering become acts of emotional processing. For me, art is not only expression but also a way to integrate fragmented memories, feelings and states of mind. Through this process, I explore my vulnerability and aim to get closer to myself.
Wang Yuanfang
My painting is a reimagining of sensory memories, tracing the psychological trajectory between my homeland and my experiences of studying and living abroad. These memories intertwine with ideas—both conscious and unconscious—of time, borders, womanhood, selfhood, and everyday life. I reconnect and weave these sensations into my work, gradually identifying my own way of perceiving the world and attempting to portray a portrait of my generation.
I am deeply drawn to artists like Mamma Andersson, whose worlds built between figuration and imagination have been a profound source of inspiration and strength.
I remain on the journey: seeking a more professional path in art, and hoping to connect with others artistes.
Werk Lichtgrau
Inspiriert von “Memento Vivere”, erinnern meine Kunstwerke an die Kostbarkeit des Augenblicks. Zwischen Rosa-Retro-Charme und leiser Melancholie bewegen sie sich –
für alle, die im Wechselspiel aus gloomy Nostalgie und leuchtendem Optimismus
das Flimmern des Jetzt spüren wollen.
Inspired by “Memento Vivere”, my works are gentle reminders of the beauty in the present moment. They move between pink retro charm and quiet melancholy –
for those who feel the flicker of now in the interplay of gloomy nostalgia and radiant optimism.
— Astrid Wieckhorst | Werk Lichtgrau”
Witch
Witch is a Polish artist based in Hamburg.
For as long as they can remember, dreams have been more than just dreams—sometimes they feel like messages, sometimes like memories from another world. These inner journeys, filled with unfamiliar places and shifting identities, eventually found their way into visual form. Using GIMP, an open-source image editing software, Witch creates digital artworks that come to life as fine art prints, each piece only printed once.
Y
yana.mhl
My work explores the emotional residue of lived experience — how feelings collect over time, how memory shifts in layers. To capture this, I first build a tactile texture that gives weight and presence to each piece. It grounds the work and invites emotional connection. Using only basic spray paint colors and a specific layering technique, I then create depth, light, and movement across the surface.
Yelyzaveta Krylova
I’m Yelyzaveta Krylova, a 22-year-old Ukrainian artist currently based in Hamburg, Germany. My primary medium is painting, through which I explore personal themes using a symbolic visual language. Symbolism is not just a component of my work—it is its foundation. Every image, colour, and narrative element I use is a reflection of inner experiences and thoughts translated into visual form.
For me, art is a tool of self-reflection and emotional archaeology. Each decision—whether thematic or technical—is an act of introspection. I translate abstract concepts into colour and form, building a visual dialogue between the outer world and my inner life. The themes I gravitate toward—love, personal growth, philosophical inquiry, inner discoveries, and the nature of being—are deeply intimate. Each painting becomes a vessel of these explorations, layered with symbols and subtle references.
Z
Zyko78
My works incorporate techniques and materials from both graffiti and ink painting. I am particularly fond of Chinese calligraphy and ink painting, the essence of which lies in the spontaneous expressive style of painting.
In my series of ceramic paintings, I break away from the classic canvas as a painting surface and search for a new material aesthetic. By alternately applying and removing layers of paint, I create peculiar optical effects. Informalism and its gestural, chance-influenced aesthetics are the inspiration here.