ÁKOS EZER (*1989, HU):
Male, young people, marked by colorful pop-cultural references, populate the works of Ákos Ezer and blur with their elongated and inter‑woven limbs into abstract paintings. The surreal depictions of the painted bodies often take up the entire canvas and, in their linearity, form a geometric frame that seems to constrain the persons depicted. Stooped, twisted postures and empty gazes make those people appear like sad puppets, played by an invisible authority.
The autodidactic artist who started by studying the Old Masters, Arjen’s works show humans, who have been reduced to the bare minimum to still make them recognizable as such. The brushwork in Arjen's paintings is always very clear, minimalistic but create an absurd and confusing content. Inviting the viewers to have a closer look and wonder about the image rather than just taking for granted what they see.
BRIAN ROBERTSON (*1978, US):
In Brian Robertson's works the artist employs complex self-analysis told through visual metaphors to relate personal traits, habits etc. to larger social phenomena, attempting to gain a better understanding of himself, his environment and human nature at large. From the very beginning, Robertson worked with the anthropomorphic appropriation of objects and symbols, which allowed him to create self-referential narratives without revealing himself.
TAMARA MALCHER (*1995, DE):
Women finally take over: naked, voluminous female bodies, set in motion, dancing, or hidden behind thick plant leaves, are the starting point for the large-format canvas works of Tamara Malcher who always develop a dynamic, powerful composition. The bright colors synchronize with the sitter and underline the aesthetics of the expressively painted body images, which, in their clarity and richness confidently take up the surface of the canvas.
TIM SANDOW (*1988, DE):
Tim Sandow's imagery feeds on the tragedy of the everyday, which can only be grasped through the sensitive observation of human gestures and interactions.
Sandow develops the distanced but not self-excluding position of the viewer. His painted in-between worlds create a gentle as well as radical view on social clichés without evaluating them, inviting the viewer to become part of a fictional script and, through the generated moment, of a 'film still'.
WILLEHAD EILERS (*1981, DE):
Also known as Wayne Horse, the artist has been thematically concerned for some time with the ambivalent wealth of western society. The material abundance of people today leaves traces in their self-image. By looking at social media, the bitter taste of a feeling that everyone enjoys a continual, everlasting vacation - a reckless moment – arises. Eilers combines these scenes with a unique combination of humor and irony.