Gianluca Bianchino is an Italian-American artist. His eclectic body of work inevitably suggests his deep observation of science, technology and the influence of his architectural studies. His work has a strong constructivist approach. His immersive installations and assemblages are often a combination of traditional art and repurposed materials, projected images, cast lights and drawings. Inspired by physics, his 2D and 3D works often engage with optics and technology. The resulting artwork is set in a metaphysical context that is often ambiguous.

Ford Crull is an American neo-symbolist artist. He has been working in his Tribeca studio since the mid-80s. A prolific artist whose abstract works are populated with classic and self-created iconography. Crull is drawn to 19th century symbolists such as Chavin, Redon, James Ensor - their ambiguous meanings and juxtaposition of images (Tribeca Citizen). The history of symbols and their presence in civilization and political implementation fascinates him. Crull constantly makes up his own icons, symbols and pictograms. He is admittedly sensitive to his environment in his paintings.

Márton Romvári, a Hungarian painter, graduated at the painting faculty of the Hungarian University of Fine Arts in 2001. His interest revolves around the hidden, elemental aspect of nature, the waves and mechanism within the elements of earth, fire, water and air. His works often recall the microscopic world of cells and organisms at first sight, a world locked in a Petri dish. The images often pulsate with strange and mesmerizing powers. After much experimentation, the lacquer technique provides the best means of visualizing the effects he is seeking, says Romvári.

Dora Tomulic is a Croatian-American visual artist. Her layered and complex visual iconography derives from personal and collective symbolism. Chaos and patterns of motions are fundamental in Tomulic’s work. Disarray and order, randomness and control are the building forces in the compositions. Her abstract patterns and ambiguous figures create a mystical, kaleidoscopic space. Tumultuous worlds formulate a deeper sense of order. She considers chaos to be a prerequisite to harmony rather than its antithesis. Tomulic perpetually scrutinizes her paintings, often re-developing an earlier work or using it as the background of a new painting. The old is always an essential part of the new.

Kati Vilim, a Hungarian-born visual artist, works in her Chelsea studio in New York. Her media ranges from traditional techniques such as oil paintings to site-specific multimedia installation and digital animation. Vilim’s non-referential paintings create an experience of a playful geometry, imbued with language and culture – a mix of conceptual op-art and geometric abstraction. Her visual ideas are created much like music or mathematics. Vilim’s structures are composed of the ratio and rhythm of more or less complex geometric forms, the combination of algorithms, and the keen knowledge of color theory.

Tamás Vészi is a Hungarian-American artist. His latest works question and reimagine the ideas of landscape in context of the urban architectural space. Landscape is broadly defined in his work, not limited to the natural world. By moving back-and-forth across painting, sculpture, installations and video, he aims to outwardly project a utopia - the ideal environment of the mind. Vészi, a man of many hats in the arts, is a vital contributor to the New York City art scene. As the founder of Radiator Arts he provides a platform to emerging curators and offers studios to artists. His varsity experience in the arts and his unique physical location in the City has greatly contributed to the development of his artistic process that he calls “landscape utopia”.