James B. Webster

JAMES B. WEBSTER (born Suffolk, 1978) received classical training in sculpture in Florence, Italy, where he worked as an apprentice to Marianne Luchetti. Upon his return to the UK, he marked a detachment from these classical roots with the inauguration of his first solo exhibition of contemporary sculpture at the Rivington Gallery (London) in 2008. A desire to plunge even further into anatomy, his passion, drove him to then return to the countryside of Suffolk, Webster’s native region, where he would spend long months isolated in his studio, studying his subjects and not only striving to master the various techniques of ceramics but to also further push the boundaries of his art. 





KRJST Studio

KRJST has a triangular structure composed by Justine de Moriamé, Erika Schillebeeckx, and their tapestries. Four hands, two souls, and four eyes are tuned together to invoke a collective memory, to alter it, and to pass it on. KRJST seeks the boundaries where anxiety and bliss are found; it explores the contemporary definition of femininity in a society that is as fascinating as it is frightening.KRJST's work reflects an emotional mapping in response to the world we live in. How to deal with paradoxical feelings, reflecting both the paralysis in the face of urgency and the positive sensation of imminent change? How to deal with the political, economic and environmental cataclysms of our time? How to manage social pressures as a woman, as a thirty-something, as an artist.These questions are translated into tormented visions of hanging gardens and incandescent vegetations. Paths through which apocalypse, wars, injustice, climate are in balance with beauty, journey, force of nature, tradition and the sacred.




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Sinke & van Tongeren

Jaap Sinke and Ferry van Tongeren are Dutch artists who have chosen taxidermy as their medium to express art. Full of humor, they chose to include Charles Darwin as the co-founder of their group, which explains the presence of his name in their artist name. Based near Amsterdam, they are inspired by 17th century Dutch painters, especially Jan Weenix, Melchior d’Hondecoeter and Adriaen van Olen. They create 3D photos, like the great masters, which portray abandoned magnificent creatures, who continue to exist due to their talent and finesse. Their common belief in the creator of Nature, is the basis of this project. Their creation process demands patience and dedication.


IG: @finetaxidermy


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Vivian Van Blerk

VIVIAN VAN BLERK is born 1971  in Cape Town, Afrique du sud, he graduated Michaelis School of Fine Art, University of Cape Town in 1995. He settles in Paris in 1996.

"Many of my photographs are of models I build. After the photograph is taken, the model is dismantled, destroyed or recycled. The model gone, our access to that vanished real world is only through the photograph. The tantalizing photograph becomes a door to a world where the viewer's imagination is engaged to wonder what happened before and what will happen next and what is hiding in the shadows or just outside the frame."

Vivian van Blerk, Paris 2016


IG: @vivianvanblerk1




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Guilhem Senges

GUILHEM SENGES is a French Photographer & Sculptor based in Barcelona. He exhibits his works both alone and as part of different collective projects in Europe and America. 

His work explores the connections between both mediums in an experimental artistic dialogue. Interactive and sound installations play with the magic of photographic processes, using small and large format pinhole cameras as well as huge cameras obscura allowing the viewer to enter this fascinating universe.


IG: @guilhemsenges



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Nathalie Latour 

The texture, the translucency and the vast chromatic range of wax make it the ideal medium to immortalize the impermanent. From the eighteenth century onwards, these qualities are made available to the medical and scientific community through close collaboration between artists and researchers. Wax modelling then becomes the perfect medium to represent anatomical, zoological, mycological and botanical models. 

 The first ceroplastic productions of Bologna and Florence are the perfect examples of this association, gathering purely scientific information and an undeniable aesthetic dimension. Since then, this form of "syncretism", knowledge and aesthetics, has dominated wax production from the eighteenth century until its disappearance during the twentieth century.

 Nathalie Latour’s artistic work is a tribute to these now extinct processes. By using exclusively eighteenth century mediums and techniques, her approach is based on the adaptation of an old know-how to a contemporary vision of these ephemeral bodies. This allows Nathalie Latour to revise the ancient traditional codes to evolve towards a form of contemporary poetry. The models composed of organic, precious and natural materials are a link between the past and the present, between the artistic and the scientific.



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V Le Caer

Vianney Le Caer studied Law & Political Science at Rennes University in France, with part of his undergraduate conducted at The Marmara University of Istanbul in Turkey. He then went on to complete an M.A. in Political Science at Rennes, France and in Hanoi, Vietnam, before transitioning into photojournalism. In 2014, he graduated from the London College of Communication with an M.A. in Photojournalism and Documentary Photography. He has experience of working in conflict situations with a portfolio that includes stories from the Ukrainian revolution, the fallout of the Iraq and Syrian conflicts, as well as several reportages from Lebanon, the D.R.C., Haiti and Eastern Europe. Vianney has also worked for and collaborated with various NGOs and non-profit organizations such as Peace One Day, Artists for Peace and Justice, Action Contre la Faim, Amnesty International and the Disasters Emergency Committee. He has also collaborated with contemporary artists such as the Connor Brothers and Pussy Riot. 


IG: @vlecaer



 Mirko Credito born in Genoa in 1971. Whilst he was studies at art school he founded Studiomobile, an art group still active today, where he started the artistic experiments on video and photography. He attended the School of Applied Arts at the Castello Sforzesco in Milan and in 1994 he began his activity as a graphic designer simultaneously with his artistic activity. From 2011 to 2015, he has been teacher of Digital Design at the Ligustica Academy of Fine Arts in Genoa.

Continuously engaged in the field of video art and photography he started research in to the use of food material as an expressive medium. His series Fritture(Fryied)is an evolution of the previous work Maschere di patate (Potato masks)that he made by photographing real decontextualised crisps. The Fritture(Fried)are technically treated according to a particular technique: they are batted and fried in boiling oil, then scanned with a high definition device in order to produce prints in large format. Some of Credito’s objects are a gun, a keyboard, a manga doll. The objects are silhouetted on black backgrounds, like old icons, cut out, almost abstract, well masked behind the gold that frying seems to imbue with gluttony and visual nausea.