András Böröcz works with his own personal iconography based on objects with significance (the pencil, chimney, ostrich egg, cactus, barrel, glove, etc.) which appears repeatedly as he traverses a variety of themes. By playing with function and cultural symbols and by exaggerating certain formal aspects inherent to contemporary society, he makes works that can be seen as portraits of himself and also of everyman. Sometimes they appear idiosyncratic and quirky; at other times they seem typical by-products of the search for collective cultural truths and global symbols.

Böröcz finds that movement, whether actual or implied, reveals an inherent awkwardness, a humor that echoes human vulnerabilities. His works appear dreamlike in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role.

Lauren Cline’s work explores the realm of the home, domestic spaces or imaginary landscapes. Her paintings and drawings feature flat, stage-like settings evocative of set design or diorama, movable parts that could be played with and reordered by some omniscient observer. They are populated by people, animals and by everyday objects rendered in uncanny detail. Figures bend and distort to stay within the confines of spaces defined by theatrical curtains, low branches, or thick stratocumulus clouds, though it is unclear if these enclosed spaces serve to protect or entrap their occupants. She uses a process-based approach to create her compositions that is derived from Jungian psychoanalysis. They ask questions about this primitive ego and its simultaneous, competing desires: to surrender to fate, to assert its own will, to subjugate itself to the will of the family, and to dissolve itself completely into the face of the Divine.

In Pearl Cowan’s work nature reclaims its position as protagonist, visually borrowing from Men what makes them “superior”: feelings, intelligence, and behavioral expressions. Showcasing vegetal forms, and humans on the same plane. Visually merging religious art and botanical illustration, Cowan succeeds in elevating plants into new, powerful, and obscure divinities through his dreamlike images. If where there used to be a human Saint there is a plant now, the frequent portrayal of mushrooms and flowers in watercolors also highlights the artist’s interest in constructing scenarios in which the uncomfortable in-between quality of natural forms and animals are acknowledged and normalized.

Ilana Eshel, in her art practice over the years, has been using drawings to explore her subconscious. In this ongoing process, a large base of ideas and inspiration is being constantly created. Back in 1991 while living in Hawaii, based on a decision to create a completely different original art for herself, Ilana began using automatic drawings that led to this new work, revealing worlds of characters and ideas related to freedom, identity, power, femininity, innocence to name just a few. The idea of change as a constant, guides her work. Color is a significant part of Ilana's art - she uses acrylic paint as well as other mixed materials such as ink pens, graphite pencil, watercolors, gouache, ink & acrylic markers, colored pencils etc. In recent years, she has been experimenting with digital art as a medium to create new visual ideas and narratives that further inspire and inform her art practice.

Saba Farhoudnia was born in Tehran, Iran in 1987, in the midst of war. Saba’s drawings and paintings explore the challenges facing the human condition. Saba merges the art of drawing, painting, language, and verse, through brushstrokes, geometric forms, calligraphy, and gestural marks to evoke drama, pain, humor, and beauty. The forms are intended to plumb the depths of the grotesque and elevate the humor in beauty. Her work explores humanity poised on a precipice: facing an insecure present and an uncertain future. She currently lives and works in New York.

Debra Friedkin’s narrative mixed media collages, sculptures and metal assemblages are based on the principle of recycling and repurposing, deconstruction and reinvention. Her works often depict provocative themes through found objects and images. This exhibition showcases some of her collages. Her love for science fiction, and her 25 years experience as a nurse in New York City hospitals greatly fed her imagery, as well as spiritual symbolism. Provocation and dark humor are essential parts of her art.

Landscapes feature heavily in Erin Rehil work. When paying homage to places of personal significance, she infuses them with personal associations, memories, and feelings, a process that brings inner and outer worlds into alignment. Visually, she represents this through the use of layered compositions, by juxtaposing classical rendering with areas of flat, graphic patterning, and with expressive color. She makes frequent use of symbolism and often employs Surrealist methods like transparency and levitation.

For her current body of work, she has been keeping a regular dream journal and choosing emotionally or spiritually significant entries to depict. An Impossibly Clear Sea and The Box With Sky Inside belong to this series of acrylic dream illustrations, along with a number of sculptural dream-artifacts.

David Szauder (b. 1976, Hungary) is a multidisciplinary artist and curator. He merges analog inputs with digital imagery using code-based parameters to create his striking visual world that is informed by his vast art historic knowledge. His current focus is on analysis and synthesis of artificial intelligence imaging.

In his work, he examines the connection between human memory, technology and society with interdisciplinary artistic tools. His most important series is ‘Failed Memories’, an interactive version of which was exhibited at the Center Pompidou in Paris in 2014, and was analyzed in the publication ‘Themes of Contemporary Art: Visual Art after 1980’, published by Oxford University Press (2021).

Dora Tomulic’s 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.