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Charlott Meisel (b. 1998, Leipzig) is a German artist whose work moves fluently between precision and dream, certainty and interruption. Trained at Burg Giebichenstein University of Art and Design Halle under Prof. Tilo Baumgärtel, where she completed her studies with distinction and now continues as a Meisterschülerin, Meisel belongs to a new generation of figurative creatives who refuse to treat reality as fixed. Instead, she allows the visible world to spill, multiply, and mutate. Her practice is rooted in close observation, but never bound by it. Human figures, animals, toys, cartoonish inventions, domestic objects, and marks coexist in her compositions with equal weight. The scenes she builds resemble moments from everyday life, yet something always tilts, a gesture becomes symbolic, a creature appears out of scale, a drawn line interrupts the illusion. These shifts create an atmosphere that is neither surrealism nor reportage, but a kind of intuitive, psychological mapping of how life feels rather than how it looks. Meisel’s works often assemble multiple realities within a single frame: finely painted bodies sit alongside quick sketches, bold colour fields, or graphic motifs. A child may appear twice, as if memory and experience overlapped. A pet becomes a guardian or witness. Animals hover between companions, symbols, and interruptions. Cartoon figures slide into the scene like stray thoughts. This layering generates a sense of porousness, where meaning is suggested, withdrawn, and reshaped with each glance. What distinguishes Meisel’s tableaux is her ability to hold humour, tenderness, unease, and brightness all at once. Her palette ranges from soft skin tones and muted blues to vivid reds, greens, and acidic pinks. She uses this colour not to decorate, but to direct emotional charge: warmth can hide threat; sweetness can conceal something unresolved. In Meisel’s universe, the uncanny often hides inside the luminous. Her influences are wide but never worn on the surface. You can sense an understanding of contemporary figuration, medieval narrative painting, Eastern German art traditions, and the visual language of animation and illustration, yet none of these dominate. The work remains firmly her own - sharp, curious, and emotionally layered. Meisel’s paintings invite slow looking. From afar they appear playful, even light; up close they reveal complexities and contradictions that sit just beneath the surface. They reward viewers who are willing to question, to re-read, to let the work shift in meaning over time. This fluidity is part of their strength: they resist closure, remaining open to interpretation while anchored in an artist with genuine technical command. Across her young career, Charlott Meisel has developed a visual vocabulary that feels both contemporary and timeless. Her works offer an expanded form of figuration, one that reflects how perception, memory, imagination, and emotion collide in the everyday. It is this layered honesty, coupled with her inventive eye, that places Meisel among the most intriguing emerging painters of her generation.

What draws us to a face that is partially lost - or a body caught in the act of vanishing? My work explores how memory, emotion, and identity are held in fragments, and what it means to recover presence through absence. My work is rooted in personal memory and genealogical echoes, but always with an eye toward regeneration and hope. I work intuitively with layers, allowing figures and other elements to emerge through gestures of both construction and erasure. Themes of vulnerability, resilience, and transformation recur, with each concept becoming a kind of excavation - an archaeology of the human experience shaped by time, feeling, and forgetting. I often depict women, directly or indirectly, in moments after the storm - anchored, aligned, and connected to the natural world and their inner truth. My figures may emerge from shadow, but they move forward with clarity and power. My process speaks to broader questions in contemporary figurative art about how we represent the self in an age of disconnection, and how the body carries history, trauma, and hope. It also speaks to the cultural urgency of reclaiming stories that have been silenced, particularly those passed down through female lineages. Through this work, I hope to create space for quiet recognition, where viewers may find echoes of their own emotional landscapes, and where, by facing our inherited stories, we make room for new ones: stories of strength, self-definition, and spiritual grace. Anat studied philosophy and art history at Tel Aviv University, attended Metafora in Barcelona, and the New York School of Art. Her work has been exhibited internationally in galleries and art fairs, including Spectrum Miami, Green & Stone London, and the CICA Museum Korea. Anat sees art as a tool for healing, protest, and connection—a way to reveal truths hidden behind masks.

Peter Schäublin is a Swiss visual communicator whose lens bridges professional rigor and poetic curiosity, in still and film works. All this makes him a curious traveller, not tourist, seeking meaning at home and abroad. Since launching his studio, 720 Grad GmbH, in 1995, he has produced evocative work across travel, nature, architecture, corporate, and documentary photography. His images shy away from romantic clichés, instead inviting viewers into elemental landscapes, where raw energy, silence, and scale converge into a near-meditative experience. Peter Schäublin’s photography has evolved from instinctive image-making into the deliberate shaping of ideas and he now delves ever deeper into concept led fine art photography. Therefore, in layered perspectives and shifting scales, the familiar becomes strange, and the strange, familiar. Schäublin’s art is a conversation between mind and eye, where the unseen and unknown quietly reveal themselves to those willing to look twice. While, of course his other work is driven forward by an ever growing appreciation for art’s sublime power to ask and answer questions. The future is both shaded and yet bright for Schäublin.

Mary Blindflowers coined the movement “Destructuralism” whose ideas are expressed in her blog and in the magazine, both named “Destructuralism and more”. Mary has in her portfolio several art exhibitions, all around the UK since 2017. She won the first drawing prize at the Henry Moore Foundation in 2019. Currently working on her self-publishing project called Thinking Man Editions, as independent publisher and author of many publications (non-fiction, poetry, novels and plays).Please contact us for details. Publications site - https://thinkingmaneditore.wixsite.com/uovoquadro

Leonhard Wachter is a German painter. In 2018 he began his studies at the Kunsthochschule Giebichenstein in Halle/ Saale. First, Leonhard Wachter devoted himself to sculpture and learned in the class of Bruno Raetsch. A little later, in 2022, he changed his major and began studying painting with Tilo Baumgärtel. His work is entangled in the search for truth and yet it is crystal clear in its transparency. Leonhard Wachter (*1995) defends a vision that, with provocative dominance and seductive translucency, casts a series of evocative visions on the timelessness of the ever-lasting struggle between the idea and the imagined. His work is like a wind which blows through the rigidity of the past and gives spirituality, where often the mind can only grasp masks.

Anne von Westphalen, who is known for her narrative painting and has made a name for herself under her artist's name, recently became better known through the jury selection for the prestigious Strabag Prize. Von Westphalen completed her preliminary studies at the age of twenty at the Rostock Art School before the now 32-year-old artist began her studies in 2009 at the University of the Arts under Professor Pia Fries. In 2015, she graduated as a master student of Prof Gregory Cumins and developed her painting from then on. Since then, her work has been shown in numerous exhibitions. Her work spans a great range in a multitude of directions, in terms of subject matter, practice and more.

A maker of worlds, a destroyer of worlds, or simply an explorer of the undetermined in space or time this and more are the roles Hermann Reimer as artist and creator fills. Questions of what is possible, what is past or present, what is tangible or hidden fill his artworks. He jumps between worlds and with a little artistic quantum tunnelling between genres; interior views, the figurative, the historical, and most recently landscape. The imagery is starker outside of his landscapes but in all areas he delves deep, drawing us down to look beyond the immediate. His touch is that of a master, you are caressed into entering Hermann’s spaces, worlds, and his flickering senses of time - you are transfixed, you follow, you stay…and return for more. As befits a masters’ student of Prof. Klaus Fußmann, and physicist his work inhabits the grey areas between art, subdued passion and the hard sciences, and are works that can only entrance and endure. His is a huge presence, imposing and one which exerts a near universal attractive force on the viewer.

Imagine in an artist, who could go back in time to the early Renaissance and transmute the base material used by greats like Botticelli, Raphael and more into visual gold. Well, he is Simon James. Why? Because, he has turned the base of such art, Gesso, into a medium for his own fleeting moods and passions. He throws onto the artwork layer after layer of gesso, using it as a trap for his momentary thoughts and feeling. He builds layer after layer…until the flow is finished. After a period of reflection, he turns inward, delving back into the work, but like we all do in hunting for moment of joy or intensity. Cutting deep, he creates depth both physical and emotional. The result, is quite incredible, a fusion of old and new, passion, skill and intuition, and more often than not, a true masterpiece.

A career in the arts...was an unknown option for a young Sean Cotter, yet rapidly it turns from the unknown, to the unexpected and decades later into a career where a long-held passion is realised every day. A love of the natural inhabits and illuminates Sean’s work. One can feel the imposing weight, power, and grandeur of the glacial, the volcanic and explosive or subtle poer of Iceland’s treasures captured in and by Sean’s vision and talent. The swirl, the majestic, instinctual beauty of form shines out from his Memorate series. All his works, through the horizon spanning landscapes, the focused views, and the life he captures and displays for us in our little boxes demonstrate the romantic majesty the world outside of our doors and settlements´. Once this vision inspired a great art movement across genres, in many ways leading to first protections of the sublime natural world across nations, maybe it can again. Whatever does happen, take the time to gaze on Sean’s work, which is well established in his native Ireland and easily captures the ideal balance of abstraction to deliver the grandeur of the subject. Compelling.

Certainly, as soon as we saw the work we knew we had to showcase it here. There is motion, there is serenity, there is depth and a swirl which weaves strands of knowledge together to create the intense and incredible artworks of Anis Tabaree. Vibrant and deep, the forms, the structures compel ones attention. She plucks at historic threads to create beauty and comment, which is altogether timeless. As when, for example, she reference the history of the Qatar dynasty, and more modern issues. All of which makes one want to start to delve deeper and understand more the past of this historical crucible and crossroads, where Anis lives and works. So there is depth and yet even without knowledge the style, the passion, the impact of line and form is mesmerising. Then, sometimes she adds colour, and well…another layer is added, she is often sparing in its use, yet when applied…wow…and that is why already her work sits in some museum collections. Time remains, to collect and enjoy. Take it and savour something a little different but which send one in to a soulful rapture, which tells you why we need art in our lives.