b. 1982, Spain

working across installation, sculpture, and drawing to weave together narrative, science fiction, and ecological speculation, Aparicio explores the complex entanglements between bodies, environments, and systems of care.

B. 1996, Colombia

By translating hair gestures into textile fibres, Barvo creates soft-sculpture installations that weave together personal memory, cultural heritage, and material research, prompting reflection on the visceral, cultural, and sociopolitical significance of hair.

b. 1991, United Kingdom

Working across a multi-disciplinary language of textiles, painting, sculpture and print, Booth’s practice explores the emotional capacity of material objects to embody intergenerational memory across time and space.

b. United Kingdom

Working with living sculpture and installation, Duckworth’s practice centres on the afterlife of the discarded. She works with plants, live matter, and textile to address urgent social and environmental issues.

b. New Zeland

Hazard's large scale paintings explore surreal, paradoxical narratives through the anthropomorphisation of natural forms. Fragmenting and distorting familiar environments, the works reflect the uncanny tensions of belonging, extraction, identity and our pursuits through aesthetic experience.

b. 1995, Russia

Lukina utilises computer graphics, laser-cut wood, metal, and mosaic to create multilayered reliefs that explore complex yet transformative psychological and emotional states.

B. 1989, Israel

Working with a distinctive sgraffito technique developed through experimentation with cold wax encaustic paint, Merin’s archaeological process reveals hidden layers of anthropomorphic figures that navigate the limbo between desire and oppression, birth and decay.

B. France

A multidisciplinary artist who creates immersive olfactory experiences, Misia’O blends scent with sound, film, and visual media to build emotionally-charged atmospheres and visceral environments.

B. 1990, United Kingdom

Spanning sculpture, painting, and drawing, Pinnock’s work take the form of the vignette and the noctuary -abstract recordings of narrative, language, and memory. Through making she explores the interplay between the temporal and the material, and between the conscious and the unconscious gesture.

B. 1997, Lebanon

Working instinctively, el Saleh’s practice constructs inhabitable worlds where bodies, animals, and landscapes merge into porous, anatomically inflected forms. Through delicate, layered mark-making, she explores flesh as material—tender, translucent, and untethered from biological or functional logic.

B. 1990, Switzerland

Classically trained as a ballerina, Schulthess’s choreography merges intuitive movement, performance art, and sonic practices.

b. 1985, Russia

Osipova’s practice encompasses immersive, poetic yet visceral works that move between real and fictional worlds using sound, installation, photography, video, and sculpture, blurring the lines between physical and digital realms.

b. 1997, USA

Wynne-Ronson transforms material intuition and bodily references into objects that dissolve the boundaries between art and design, creating uncanny yet accessible work that reimagines our relationship with the tangible.