Jeffrey Robb is a London based artist who works with holography, lenticular photography and laser light. His current work is produced in the form of cast optical structures - moving images derived from photography, painting, film and video. Previously he has worked with holographic stereograms, transmission and reflection holograms and laser light installations. He trained at the Royal College of Art in London. Jeffrey is best known for his spectacular 3D underwater series Aerial, Naked Singularity and The Eden Project.

Emil Alzamora started his sculpting career in the Hudson Valley working with Polich Art Works in the Fall of 1998. Since his departure from P.A.W. in early 2001, he has produced his work full-time and shown regularly throughout the United States, London, Amsterdam, Miami and Korea. He currently lives and works in Beacon, NY.

Internationally renowned artist Kevin Berlin's works are found in the collections of Kim Basinger, Luciano Pavarotti, David Letterman, Bill and Hillary Clinton, Dudley and Lisa Anderson, Quincy Jones, Buzz Aldrin, Henry Buhl, and General Motors Corp. Berlin, a Yale University Alumnus, studied at the Slade School of Fine Art and has appeared in The New York Times Magazine, Shanghai Daily, The Miami Herald, USA Today, MTV, Tokyo Television, BBC Radio and over 40 television stations across the United States. Berlin was honored by President Reagan at The White House as a Young Arts Presidential Scholar in 1983. Kevin Berlin's recent major solo exhibitions include shows in Shanghai, China, Kiev, Ukraine, and in New York City, USA

Richard Butler was born in Surrey, England in 1956. He graduated from the Epsom School of Art and Design, and went on to establish the internationally renowned rock group, The Psychedelic Furs, in 1977. Painting was Butler’s first love, and over the past ten years he has returned to it with a passion. His paintings unflinchingly convey the pathos and pretension of the human comedy, and also the persistence of human dignity. Butler has received much acclaim for his paintings, and has had gallery exhibitions in New York, Miami, Florida and Florence, Italy. His work has been shown alongside Francis Bacon, Alberto Giacometti, Diane Arbus and Williem De Kooning.

In Deedee Cheriel’s satirical and playful paintings, animal/human hybrids engage with each other and their environment, a familiar yet surreal world in which bird-headed women riding a fish seems perfectly natural. Influential street artist Shepard Fairey says, “Deedee's work demonstrates a powerful tension between the design elements of stripes, patterns, and color fields, with lyrical illustration. Deedee's work is idiosyncratic in the most ideal way... it is a reflection of her unique personality.”

Clarke’s work revolves around his confused, convoluted and misguided attempts to understand complicated women real and imagined. He often plays a dominated role of subjugated artist sacrificed on the alter of painting, the fall guy to the scene that has emerged in the unfurling of its construction. This work, Song of Ilium 2011, is a self-portrait in optimistic vein. The artist here is hero, adventurer and poet painted in the colours of the Iliad, like a Greek God looking forward but at the same time still tender and unsure. He is bold yet vulnerable, a fauvist antiquity captured in the bright Puglian sun. Currently living in Puglia, Italy, Clarke has worked in France , Mali, Malta and the UK. The painting exhibited derives from a series of trips to Kerala in the late 90s where the artist found himself first appearing in his paintings. He worked from a hut in the hills using just raw pigment linseed oil and canvas for a month and tried to make sense of the multiple Gods and Goddesses whilst contemplating his choices and direction in life. He placed himself in the painting as the central character yet was somehow still removed and an outsider. The painting displayed has this same hero/anti hero feel intensified by his under researched interest in the intricacies of the relationships between Hindu god worship and the predominantly Christian population. What did he believe in ? He didn’t know.

Beth's work creates a rich allegorical world by integrating the human figure with animal form. Working within the realm of a sculptural tradition where the symbolic use of animal imagery has been a continuously potent source, she seeks a new level of inquiry into these timeless themes, and in this sense the work is flavoured by a mythological and classical aesthetic. 'Beth is inspired by myths and classical legend, her figurative sculpture embodies a mixture of zoomorphic and human form; juxtaposing basic animal instinct's with that of human everydayness, giving her work a soulfullness that is truly unique' Leonie Nanassy - Curator.

Manolo Chretien was born in Orange, France in 1966. Currently living and working in Blois, Chretien graduated from the prestigious ENSAAMA Olivier de Serres in Paris in 1991 and has exhibited in France, Germany, China, The Netherlands and the UK.

Artist Biography: Chris Dean is one of a small number of artists with a studio practice dedicated to lenticular work. Dean's interest in the medium evolved from early experiments with stereoscopic imagery at San Jose State in the 1990's and has grown to include a range of methods for capturing and producing motion 3D lenticular. Since his first solo show in 2006 Dean has exhibited with a number of well known artists including Mark Ryden, Robert Williams, Gary Baseman, Ron English and many others in galleries across the United States. In 2008 Chris Dean and Glen Barr were chosen to represent Detroit in an international campaign by 1800 Tequila that featured their work in numerous magazines and billboards.

Artist Statement: Though I have produced work in sound, found objects, performance and the written word, the one constant in my practice has been painting. I believe art has a social function and as such artists have a responsibility to engage with an audience that may not be schooled in the finer intricacies of contemporary art theory. I have moved away from painting that engaged directly with the previous histories of High Modernism (something that took up much of my earlier work), and now tend to figurative, sometimes politically directed, work. I'm bitter. I look on it as one of my few positive character traits

Susan’s work explores a view of being British as seen through tourist mementoes and souvenirs. Scouring the second hand shops of resorts and car boot fairs for her materials, the kitchen crockery, novelty mugs, ashtrays, plates and badges that she finds are combined with more traditional mosaic tesserae to create quirky, beautiful pieces usually based on the Union Jack.  “My studio is an archive of the nation’s mantelpieces and an affectionate collection of the kitsch and the idiosyncratic within which I think there is an inherent beauty. These objects, once bought as a reminder of good times, offer the stereotypical view that speaks of inbuilt Home Truths” Although Susan’s work deals with clichés, she manages to combine both humour and poignancy in the way that deconstructs who we think we are and what we actually portray to the rest of the world.  ‘People will often spend a long time looking at a piece of my work, discovering familiar objects which come with their own associations and finding new connections and meanings. I like to take the familiar and place it into a new context by association with other objects or statements’ Susan's works are held and shown in London, New York, Tokyo, Amsterdam and Miami.

Jonathan Gitelson converts his observations of ordinary objects or events into exaggerated photographs and graphic posters. Gitelson states: “Commonplace things fascinate me. Overheard conversations, chance encounters and found objects are just a few of the seemingly mundane things that have inspired my work. By examining the overlooked artifacts of everyday life such as discarded letters or receipts, I catch a glimpse into the daily lives of people in my community.” The Midwest Photographers Project holds works by Gitelson from three separate series: Dream Job, The Car Project and Hidden Clothing, which are each thematically linked by a philosophical exploration of the everyday.

Pam Glew, born 1978, is a contemporary artist who is best known for her unique bleaching technique on national flags. She uses dye, stitch and traditional skills to paint, embellish and distress vintage materials in her own breed of painting. Heavily inspired by film, her strong cinematic paintings often use screen stills of women in film as their starting point. She obsessively watches contemporary and classic movies to capture a pivotal moment; when a character is being chased, startled or discovered by the enemy. The result is often compellingly beautiful and yet has some element of vulnerability. She is one of the few female British artists to emerge in recent times and her large-scale work has been showcased extensively in the UK and internationally in over 60 exhibitions. Her work is keenly collected and features in collections in Europe, USA, Asia and Australia.

Brett Goldstar self-trained as a mural artist during the first wave of acid house parties in the late 1980's. Working for some of the largest event organisers in the north of Britain at the time, Goldstar's unique artworks were seen by tens of thousands. After the thrust of free parties finally subsided Goldstar turned his skills to graphics, working freelance in London until moving to the South West of England, to pursue his artistic interests which had moved away from stenciling and towards experimentation with painting, sculpture and more recently, digital art. His latest series brings images together that appear to contradict or oppose in the first instance, his work ultimately points at a stream of darker connections, questions and similarities.

Exploring a particular part of the River Avon by canoe near where he lives in Bath has given him some of the inspiration for this body of work. Many of the pieces in this exhibition are suggestive of existing myths and spiritual beliefs but also include references from Patrick's own life. The themes and materials are deeply personal. More recently, inspiration has been gained from found objects such as a child's chair or a bird cage given by friends. They sit alongside pieces from the natural world, creating an uneasy juxtaposition. Their role is to ask questions, make statements or suggest meanings that provoke thought. He says; ‘I like people to perhaps remember a past experience or reconsider an ingrained belief'.

Austrian artist, Martin C. Herbst (*1965), pushes the limits of traditional painting. His recent works expand to the third dimension and produce fascinating in-betweens. The New York based Regis Krampf Gallery showed examples in this year’s edition of Contemporary Istanbul. Faces appeared on concave dishes, curved plates or stainless steel spheres and offered stunning experiences: the faces are distorted when painted on curved panels, but look “normal” if the viewer betrays from a certain point of view. Concave aluminum dishes seem to suck the faces to the center. Faces on spheres look like caged moon-faces and show different expressions when the sphere is turned. Herbsts paintings show a truly new approach to representation and are deeply based in the long tradition of painting at the same time. In fact he focuses in his work on an elaborate re-imagining of art historical themes and theories of classical portraiture and human figure. Especially the well-known sphere-series is a good example. These faces painted on stainless steel spheres were inspired by a famous painting of the Italian Mannerism, Parmigianino’s “Self-portrait in a Convex Mirror” (c.1524). The small painting on a curved wooden plate shows the painter himself sitting behind a table and is famous for showing all the distortions, which a convex mirror produces. Expanding Parmigianino’s idea Herbst uses highly polished stainless steel spheres and paints a face on one half . The other half of the sphere remains unpainted and functions as a massive distorting mirror. Surprising is not only the distortion of the painted face, but also the fact that the expression of the face seems to change a bit if you turn the sphere and look at it from a different point of view. Painting and reality mixes and the work appears strangely animated and vivid. Martin C. Herbst (*1965) has exhibited intensively around the globe, recent solo shows include Christopher Cutts Gallery Toronto;Mike Weiss Gallery NYC; Várfok Galéria Budapest; MITO, Barcelona. Fair participations include Art Basel Miami; Scope New York, Basel, Miami, Hamptons, London; Art Chicago; Los Angeles Art Show, Artbo, Bogota; Show off, Paris; Art Brussels; ArteBa, Buenos Aires and others.

Born in Kirkland Lake, Ontario, Canada, Nathan James currently lives and works in London, UK. Exhibiting extensively, James has had shows throughout North America and Europe. His work was also selected to show in SCOPE Miami in 2008 and 2009, SCOPE New York in 2006, and SCOPE London in 2005. James’ artworks, “The Sudden End Of The Misfit' (2008) and “Splank Thru” (2008), were chosen by fellow artist, Stuart Semple, for Semple’s first curatorial project “Mash Ups” in London, over the summer of 2008. James’ photo based paintings of trendy youths are intervened by helpings of obnoxious neon slashes, cuts and splashes comprising of pop elements such as cartoons, graphics and text, to create his distinctive style. These combinations of techniques and styles collide as cartoon and plastic clash with James’ figurative flesh and bone elements. With these paintings James explores the notion that mass media materialism can indeed fulfill some of their promises of leisure and enjoyment but at the cost of forfeiting some of the subjects’ humanity.

Bristol based artist Rude Kid was 'banned' from reading Marvel and DC comics as a child - a precaution taken by his parents to protect him from the images of violence often depicted in publications such as Tales from the Crypt and The Vault of Horror. These comic books came under attack from parents, clergymen, schoolteachers, and many others who believed the books contributed to illiteracy and juvenile delinquency. Because of this parental vito, Rude Kid developed an intrigue in the genre, and a substantial collection was formed alongside more hero based publications such as Superman and many titles from the Marvel and DC publication houses. Street art was a logical progression as a teenager, and the artist tagged and drew murals on streets - first local, then progressing on his travels making his mark from Birmingham to Berlin. Now his spray cans are reserved for the studio, and his current series of old and present day comic characters are re-mixed with images from a multitude of modern references, building them into large scaled up posters using a mixture of oil pastels and goache. Rude Kid has shown in Amsterdam, London and more recently his new range of pastel posters were shown in Scope Miami, as part of Miami Art Basel week.

Robert's work is a chronicle of Americana. He captures the independent aesthetic of the not-so-distant past that has been replaced by homogenized corporate culture and standardized cityscapes. Industrial design, graphic design, architecture and vintage neon all render important roles in his work. His paintings employ layers of color, subtly collaged printed matter from the 1950’s and 1960’s, and stark, black imagery. Remote, indistinct landscapes capture the once poetic, and now nearly lost highway strips of the American past. Formerly the promise of hope and prosperity; these icons are now a sign of desperation and ruin.

Born in the UK in 1982, Kate Marshall lives and works in Devon. After a foundation course at Falmouth College she graduated from Goldsmiths in 2004 with a BA in Fine Art and Art History. In 2006 she was selected for a national showcase for emerging creative talent judged by Stella Vine. Live art performances often feature in her shows; including the 2006 Liverpool Biennial, which received coverage on BBC2 and her debut London solo exhibition in 2007, which was singled out by the Sunday Times as a must-see. Kate has been asked to participate in fundraisers for women’s rights in Mexico alongside Tracey Emin and The Royal Society of Portrait Painters and for the Prince’s Trust at Bonham’s. Her most recent project was a multimedia collaboration based on Michael Pye’s acclaimed novel The Drowning Room and her current long-term work-in-progress is a limited edition run of hand-bound artist’s books of prints based on Vasari’s Lives of the Great Artists.

This year Richard won the University of Glamorgan Purchase Prize and produced two sizeable commissions. He was shortlisted for the Eisteddfod (The National Eisteddfod of Wales is one of the great festivals of the world, attracting over 160,000 visitors every year) with two major works and won the Welsh Artist of the Year for drawing 2010. In his series entitled 'Wallpaper', Richard used wallpaper designs from the entrance hall to his childhood house as a compositional device for a series of large-scale drawings in paint.
The works represent a world within a world, an escape from the 'mundane nature' of living and provides a fairytale landscape in which one’s mind can wander and where limits are only set by the extent of one’s imagination.

David's work originates from an academic interest in and an emotional attachment to the medium of painting. The “strip paintings” were developed from an interrogation of painting conventions and the idea that there was a way for the viewer to see aspects of paintings that had previously been hidden. The cross-sections created by cutting paintings into fine strips reveal previously hidden aspects of the paint and its relationship to the canvas support. At the same time the painting surface conventionally seen by the viewer is hidden from view. When the cut cross-sections are reassembled a memory or ghost like portrayal of the original image is created. The work is presented in self-made frames. Controlling this aspect of the work allows Daivid to use a material that both echoes the linear quality of the images and creates a utilitarian style reminiscent of the Pop Art age.

The characters in Milton’s Go Go series are a vibrant and chaotic mixture. Desire and denial, joy and trepidation, dominance and deference create a dynamic tension in these spontaneous and expressionistic works which have grown out of the artist’s considered conceptual analysis of intention within his theme. Go Go features drawings with paint, made in response to a series of visits to London’s fetish and dance clubs. In these works Milton does not attempt to accurately record what he sees, rather they are formed through remembered emotions and sensations, conscious and unconscious thoughts. The characters are ‘made up’, a distilled essence or archetype, reminiscent of particular types of people or places. Significantly, in a time where photography and film are the accepted medium of eroticism and sexuality, these drawings return us to the more intimate and seductive media of paint and line.  Milton’s characters are not mortal or real, rather they are a fusion of experience and imagination. Chris Milton has exhibited extensively in the UK and overseas and continues to lecture part time at various universities and colleges of art. His work includes drawings, paintings, monoprints and illustrations as well as prop and scenic designs for film and TV.

Michael Mew grew up in the metropolis of Los Angeles when suburban living was altering American popular culture. In the neighborhoods where he was raised, alleys ran behind the houses to service trash pickups, affording him his first opportunities to collect discards and cast-offs. After completing his degree, Mew's  attraction to found objects turned him into a flea market disciple. He used his weekend treasure hunts to accumulate an impressive archive that became the source for assemblage art he created in the tradition of Joseph Cornell. Mew's assemblage work contained the motifs that had influenced his art studies and his upbringing: Cornelian constructs of birds and star charts, ornate Victorian valentines mixing images of war and Catholic martyrdom with broken romance, and meditations on science and biology. When Mew turned to collage work in 1994 he carried many of these themes into two-dimensional media, adding elements from 20th century popular culture like magazines pages, comic books, and advertisements. In layering digital print technology with painting and rendering, he has synthesized a new formal approach that integrates a range of paired opposites: modern and postmodern sensibilities, low and high culture, play and critique. Mew has wryly observed that his collection of images comes from 'an untidy place in my subconscious'. His ongoing interest in science, astronomy, world religion, and alchemy all play a part in the way his layered compositions fall together. Mew's fascination with surrealism, which originated during his college studies, led him to compose using loose associations that arise from his working process. Accumulating images, he trusts these subconscious connections to jell into lyrical, often pointed narratives with intricate and cohesive internal connections.

ALEXANDRE ORION grew up in some of the busiest streets in Brazil. As a child in Sao Paulo, he became accustomed to sidewalks thronged all day, and the din of traffic at night. Orion was quick to respond to the appeal of the streets and his first graffiti was done at the age of 14. Discovering photography in 2000 coincided with an interest in the theory of image in Barthes, Dubois and Aumont. A year later, his Metabiotics project involved finding a place in the city where he would paint the wall and with his camera at the ready, await the decisive instant when people interacted spontaneously with his paintings.

Manuel di Rita is a young Italian artist born in a small town near Venice (Italy). He started to work under the Monika 'Peeta' at the beginning of the 90s and soon became a well-known writer within the Italian graffiti scene, also thanks to his partnership with the Paduan EAD crew. Over the years he practised different styles and finally honed a technique which takes inspiration from sculpture and industrial design.

'The use of handguns to create art is a concept I've been exploring since January of 2002. With all due respect, I must tip my hat to the likes of Sigmar Polke, Hunter S. Thompson, and William S. Burroughs; though the actual inspiration for this body of work must be attributed to my Father and his invitation to join him for a day at the firing range during the Christmas of 2001. Having worked with guns and targets to the point of some familiarity I still find myself reacting to this strange set of tools with a healthy combination of anxiety and excitement. The concept of using what I view to be tools of destruction, to create works of art, continues to be the driving force behind my desire to explore this particular body of work. Needless to say, the opportunities for metaphor are plentiful. As for the specific meaning of any piece, I ask the viewer to process the information therein for themselves and relate to it as they like, unencumbered by my own intentions'. Mediums and materials currently in use: Pistol Targets, H K .40 caliber semi-automatic pistol Glock 17 9mm semi-automatic pistol, Resin.

In 2003, Erik Sandberg received a BFA with distinction, from Art Center College of Design in Pasadena, CA. He has achieved steady success in the fields of Fine Art and Illustration, receiving numerous grants and awards for his Advertising and Editorial Illustrations. From 2006 to present, he has taught at both Art Center College of Design in the printmaking department, and California State University, Northridge, as well. He currently resides in Los Angeles, CA.

Geza is a skilled multi-disciplinary artist working in a wide variety of mediums including taxidermy, animal flesh, photography and graphics. He was awarded for Best Set design in group for Taxidermia feature movie by György Pálfi, Hungary, 2006 http://www.taxidermia.hu Geza's work has been exhibited alongside artists such as Jake and Dinos Chapman, Jeff Koons, Cindy Sherman in the 'Decadence Now! Visions of Excess' organised by Galerie Rudolfinum, Prague. His work is held in collections in Miami, New York, Seoul, London, Prague and Budapest.

Yushy was formed originally as an anonymous artist collective with a select and constantly fluctuating membership. Now two artists work under the name. Yushy's high graphic, high humour (often with a dark, cutting edge) is starting to gain critical acclaim. The duo's work is held in collections in New York, Miami, London and Amsterdam.