ARTISTS
Discover our curated selection of artists — a roster we genuinely love, collect, and believe in. We represent distinct voices whose practices shape the evolving language of contemporary art. Explore more.
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CHRISTINA GSCHWANTNER
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Christina Gschwantner, born in Vienna in 1975, is a distinguished Austrian contemporary artist whose work represents a sophisticated dialogue between abstract expression and structural rhythm.
After completing her studies in painting and graphic arts at the University of Applied Arts Vienna in 2001, where she was supported by a scholarship from the Sussmann Foundation, she spent several formative years traveling and working in Greece, Mexico, Italy, and New York. A pivotal one-year residency in Australia further broadened her artistic perspective before she established her independent studio in Vienna in 2003.
Her artistic journey has evolved from early works featuring "peculiar creatures" and surreal figures toward a mastery of pure abstraction. Working predominantly on unprimed raw linen, Gschwantner treats the canvas as a site for social and structural experiments, using dots, splashes, and gestural brushstrokes to create what she describes as "relationship paintings."
Her process is defined by a meticulous balance of spontaneity and control, where vibrant color palettes — ranging from earthy tones to high-contrast neons — act as the primary building blocks of the composition. As a member of the Künstlerhaus Verein and IG Bildende Kunst, Gschwantner has achieved significant international recognition. Her works are held in major public and private collections, including the State Museum of Lower Austria, the Fubon Art Foundation in Taiwan, and the Saatchi Art Collection in London. Today, she continues to push the boundaries of contemporary abstraction, exploring the "metamorphosis of the visible" through ongoing series that emphasize the physical and emotional impact of mark-making on the material surface.
After completing her studies in painting and graphic arts at the University of Applied Arts Vienna in 2001, where she was supported by a scholarship from the Sussmann Foundation, she spent several formative years traveling and working in Greece, Mexico, Italy, and New York. A pivotal one-year residency in Australia further broadened her artistic perspective before she established her independent studio in Vienna in 2003.
Her artistic journey has evolved from early works featuring "peculiar creatures" and surreal figures toward a mastery of pure abstraction. Working predominantly on unprimed raw linen, Gschwantner treats the canvas as a site for social and structural experiments, using dots, splashes, and gestural brushstrokes to create what she describes as "relationship paintings."
Her process is defined by a meticulous balance of spontaneity and control, where vibrant color palettes — ranging from earthy tones to high-contrast neons — act as the primary building blocks of the composition. As a member of the Künstlerhaus Verein and IG Bildende Kunst, Gschwantner has achieved significant international recognition. Her works are held in major public and private collections, including the State Museum of Lower Austria, the Fubon Art Foundation in Taiwan, and the Saatchi Art Collection in London. Today, she continues to push the boundaries of contemporary abstraction, exploring the "metamorphosis of the visible" through ongoing series that emphasize the physical and emotional impact of mark-making on the material surface.
ANNA CHEKH
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Anna Chekh is a multidisciplinary contemporary artist from Ukraine whose work bridges the gap between traditional fine art and futuristic digital technologies. Originally from Dnipro, Chekh attended art classes as a child but initially pursued a career in advertising and public relations, graduating from the National University in Kyiv to ensure professional stability. After an eight-year career that saw her rise to the role of art director, she decided to return to her "childhood dream" and transition into a full-time independent art practice. Currently based in Thailand and holding a 10-year Golden Talent Visa from the UAE, she has established herself as a global figure in the "phygital" art movement, where physical and digital realms intersect.
Her artistic philosophy centers on the exploration of modern society, emotional complexity, and human behavior through a style she describes as a blend of contemporary surrealism and neo-symbolism. The cornerstone of her oeuvre is the "Shadow Man," a recurring faceless character that serves as a satirical yet profound commentary on the anonymity and facelessness of the digital generation. Chekh’s portfolio is remarkably diverse, encompassing vibrant acrylic paintings on canvas, 3D-printed sculptures, interactive installations, and NFTs. She is particularly noted for her innovative use of technology, creating 3D sculptural paintings that merge physical relief with digital layers.
Chekh’s global recognition has led to exhibitions at some of the world's most prestigious art venues, including the Arsenale during the 2024 Venice Biennale, the Carrousel du Louvre in Paris, and the Museum of the Future in Dubai. Her work has received international accolades, such as the Best Innovative NFT award at the Burj Khalifa in 2024, and she was appointed Art Ambassador of Ukraine by UNESCO. Beyond traditional galleries, Chekh actively collaborates with luxury brands in the furniture, jewelry, and automotive sectors, further expanding her "Shadow Man" philosophy into functional design and lifestyle spaces.
Her artistic philosophy centers on the exploration of modern society, emotional complexity, and human behavior through a style she describes as a blend of contemporary surrealism and neo-symbolism. The cornerstone of her oeuvre is the "Shadow Man," a recurring faceless character that serves as a satirical yet profound commentary on the anonymity and facelessness of the digital generation. Chekh’s portfolio is remarkably diverse, encompassing vibrant acrylic paintings on canvas, 3D-printed sculptures, interactive installations, and NFTs. She is particularly noted for her innovative use of technology, creating 3D sculptural paintings that merge physical relief with digital layers.
Chekh’s global recognition has led to exhibitions at some of the world's most prestigious art venues, including the Arsenale during the 2024 Venice Biennale, the Carrousel du Louvre in Paris, and the Museum of the Future in Dubai. Her work has received international accolades, such as the Best Innovative NFT award at the Burj Khalifa in 2024, and she was appointed Art Ambassador of Ukraine by UNESCO. Beyond traditional galleries, Chekh actively collaborates with luxury brands in the furniture, jewelry, and automotive sectors, further expanding her "Shadow Man" philosophy into functional design and lifestyle spaces.
GLEB BARANOV
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Gleb Baranov explores the complex intersections of intimacy, desire, and perception in the digital age. His practice engages with found imagery from anime, art history, and online archives—images already shaped by repetition, fantasy, and distance—and transforms them through painting, drawing, and graphic processes. By introducing slow, manual gestures into these circulating visual systems, Baranov’s hand becomes a corrective force, creating delay, friction, and vulnerability in images designed for seamless consumption. His work is particularly concerned with moments when immersion fails — when digitally mediated figures escape the screen to occupy material space, destabilizing the viewer’s gaze and generating new relationships between image, body, and audience.
In his ongoing project Monet-Anime (2025–present), Baranov examines the collision of two seemingly incompatible systems of seeing: the perceptual, vibrating atmospheres of Impressionism and the hyper-stylized, emotionally coded logic of anime. While Monet’s landscapes depend on embodied observation, anime characters function as pre-formed vessels of identification shaped by digital media. By placing these systems into shared pictorial spaces, Baranov tests how contemporary subjectivity negotiates between sensory experience and mediated projection. The figures do not inhabit the landscape but confront it, standing at the threshold where physical perception meets the clarity of digital desire.
Rather than framing “high” and “low” culture as opposed, Baranov proposes a hybrid visual model: one in which immersion in media images refracts rather than erases material perception. His paintings operate as experiments in reconstruction, assembling feeling through fragments of cultural memory. In doing so, he demonstrates how styles often dismissed as escapist—like anime—can be reconsidered as tools for exploring contemporary subjectivity, intimacy, and the subtle interplay between the digital and the material.
In his ongoing project Monet-Anime (2025–present), Baranov examines the collision of two seemingly incompatible systems of seeing: the perceptual, vibrating atmospheres of Impressionism and the hyper-stylized, emotionally coded logic of anime. While Monet’s landscapes depend on embodied observation, anime characters function as pre-formed vessels of identification shaped by digital media. By placing these systems into shared pictorial spaces, Baranov tests how contemporary subjectivity negotiates between sensory experience and mediated projection. The figures do not inhabit the landscape but confront it, standing at the threshold where physical perception meets the clarity of digital desire.
Rather than framing “high” and “low” culture as opposed, Baranov proposes a hybrid visual model: one in which immersion in media images refracts rather than erases material perception. His paintings operate as experiments in reconstruction, assembling feeling through fragments of cultural memory. In doing so, he demonstrates how styles often dismissed as escapist—like anime—can be reconsidered as tools for exploring contemporary subjectivity, intimacy, and the subtle interplay between the digital and the material.
