Jessica Eun Kyoung Choi is a contemporary ceramicist based in Naarm/Melbourne. Working in small batches, she reinterprets traditional techniques through a contemporary lens, combining wheel throwing with hand building to create intuitive forms that feel both spontaneous and intentional. Her vessels often blur the boundaries between art and function, offering contemplative reflections on the role of everyday objects and the spaces they inhabit. Each piece serves as a time capsule of her evolving practice, embodying a sense of authenticity and personal connection.

Mark Bo Chu is a painter of the everyday, whose work spans streetscapes, public icons, and portraits. His work has been covered in The Australian, ABC Arts, SBS, The New York Times, and Vice, and Chu is the 2022 Highly Commended winner of the Lester Prize. He is a past writer for the Good Food Guide and has recorded as a piano soloist with the MSO and WASO. Chu has published scientific research in Nature and Cognition, and currently writes for To Be Magazine.

Andrew Farmer is a British-born, Australia-based abstract artist celebrated for his distinctive resin works that explore the interplay of light, geometry, and reflection. Transitioning from a successful corporate career into the world of contemporary art, Andrew has developed a refined visual language through his use of dyed resin on mirrored aluminium panels.Each piece is a balance of precision and spontaneity—where bold colour fields and geometric forms interact with mirrored surfaces to create depth, movement, and an ever-changing dialogue with the viewer. The reflective quality of his work invites personal engagement, transforming each viewing into a unique experience shaped by light and perspective.Andrew’s practice has gained recognition across Australia and internationally, with his work collected by art enthusiasts and public figures alike. Represented by contemporary galleries, his pieces resonate in both private collections and curated interior spaces, bridging the worlds of fine art and modern design.Through his meticulous craftsmanship and innovative use of resin, Andrew Farmer continues to push the boundaries of abstraction—creating art that is both visually striking and deeply immersive.

Liam Gerrard (b.1984 Aotearoa, New Zealand) is an Auckland based artist whose practice offers a contemporary take on the 17th century still life vanitas. Closely related to memento mori still life, vanitas gently remind us of the fragility and transience of life. Most recently Gerrard has explored this theme through the depiction of plants and flowers, and other aspects of wildlife that one can find in a garden. The artist has become known for his depictions of the humble suburban hydrangea in various states of blossom and decay. Gerrard is known for the exquisite, meticulous detail with which he draws; predominantly in charcoal, pastel, and pencil. Notions of the passing of time are made apparent not only through his chosen subject matter but by the very processes that he employs.

Born in Melbourne in 1966, Carmelina Greco has been drawn to clay for as long as she can remember. As a child, she would hand-build alongside her older sister, discovering early on that clay felt like a natural extension of her hands and imagination. While she never learned the wheel, hand-building became her artistic voice, guided by instinct, memory, and the rhythm of working directly with the material. Greco’s sculptural forms emerge intuitively, without sketches or plans. She follows the curves that appear, allowing the clay to move and lead. Her work reflects her inner world and daily surroundings: the flow of the nearby beaches, the softness and strength of the female form, and the raw beauty of the Australian landscape. Working with Australian clays, Greco honours the rawness of the material, its natural textures, subtle shifts, and the marks of the maker’s hands. The fire reveals what is already within: earthy tones, imperfect edges, and organic curves that feel alive. Each sculpture is one of a kind — intuitively shaped, deeply personal, and expressive of a living form born from instinct, nature, and touch.

Olaf Hajek is one of Germany’s most renowned illustrators and has, through countless works, developed his personal and frequently awarded style. Hajek decomposes the borders between authenticity and thought, South American folklore, mythology, religion, history, and geography. More than anything else, his work explores the opposition between imagination and reality in the context of Western cultures. Olaf Hajek is a painter immersed in a world of surreal fantasy and melancholic beauty. Drawing from diverse references such as 1960s African studio photography, Renaissance perspective, and the Dutch still lifes of the 1600s, his work is underpinned by the colour and texture of folkloric imagery. Hajek’s images are generally created by applying acrylic to cardboard and resemble Cuban advertising posters from the 1960s on account of the technique with which he creates artificial patina. They retain a valuable graphic feel despite their painted appearance. Olaf Hajek is currently one of the most internationally renowned and sought-after illustrators and visual artists. His stylistically unique work can be seen in publications including The New York Times, The Guardian, and Vogue, as well as on stamps for Great Britain’s Royal Mail. Living and working in Berlin and Palma de Mallorca. www.olafhajek.com

Originally from Kaurna Land (Adelaide) and now residing in Naarm (Melbourne), Millie has recently undertaken and completed a Bachelor of Fine Arts (Painting) at RMIT University. Her practice is characterised by its fluidity and rapid evolution, reflecting the dynamic nature of her studies and her ongoing exploration of surface, medium, texture, colour, and scale. Influenced by her surroundings, personal experiences, and social interactions, Millie strives to achieve a form of realism, predominantly through painting - that captures the essence of mundane moments while inviting viewers to engage deeply with each detail and texture. Millie's commitment to pushing artistic boundaries drives her to experiment with scale and technique, aiming to evoke the emotional depth and complexity of shared experiences and human connection. By rendering these moments in bold, expansive formats, she seeks to create a space where the viewer can linger, reflect, and experience the profound interplay between image and emotion.

Meg Kelso (b. Papua New Guinea 1992), is an Australian artist based in Naarm|Melbourne. Her practice is her research, a reciprocal relationship between material storytelling and contemplation. She assimilates processes inclusive of painting, photography, printmaking, ceramics, sculpture and video, allowing each discipline to sit, extend and communicate with one another. Her making seeks harmony between the physicality of matter and intuitive formation, drawing on research on the fugitive nature of memory; how it is found, accumulated, fragmented and reconstructed. By negotiating material forms and embracing unknowability and chance in process, Kelso explores themes of obfuscation, loss and the cyclical nature of matter; using her practice to weave threads between the visible and not.

Kepsibel’s creative practice is characterised by a repetitive and ritualistic engagement with the material world. Unbound by a commitment to conventional materials, she develops idiosyncratic processes, refining them over time on surfaces and substrates. The development of her own visual language through light and colour, informed by methodological and intuitive approaches, is a reflection of Hill’s embrace of freedom and limitation as opportunity for creative expansion. Her painting, sculpture and installations are confessional in nature and imbued with a sense of chaos and urgency as she attempts to align her internal world with her perception of the external world. It is the act of concealing and revealing through mark-making that grounds her multidisciplinary creative practice. Kepsibel lives and works on the unceded lands of the Wurundjeri Woi-wurrung and Boon wurrung peoples of the Kulin Nation. She pays her respect to their Elders, past and present and acknowledges their continuing relationship to this land, and their unbroken resilience. Australia always was and always will be Aboriginal land.

Born in Paphos, Cyprus, Barbara Kitallides is a multidisciplinary artist based in Melbourne, Australia. Working primarily with synthetic polymer paint on canvas, as well as mixed media in her sculptural and installation works. Rooted in abstraction and impressionism, her practice draws deeply from personal ethnographic and cultural experiences. Exploring themes of heritage, memory, and migration, often informed by her Cypriot roots, extended time spent in southern Europe, and her current environment in Australia. Barbara engages in a dynamic, unspoken dialogue through colour, scale, form, material, and physical space. Colour plays a central role in her artistic exploration, both as a tool and a subject of inquiry. Barbara's artwork has been exhibited in Australia, Hong Kong, Athens, and London. Barbara has been a Finalist for several National Art Prizes (Omnia National Art Prize 2023, MSC Maritime International Art Prize 2022, National Waverley Art Prize 2020). Barbara's artworks are held in private and public collections throughout Australia, Asia, New Zealand, Europe, and North America.

Alexey Kondakov (b. 1984, Donetsk, Ukraine) is an artist working with digital graphics and photo collage. He graduated from Donetsk Art College and considers this period the key influence on his artistic formation. Later, he received a Master’s degree in Design from Kyiv National University of Technologies and Design.He began as a graphic designer, working with visual communication, typography, and digital media. In time, collage became his preferred form of creative thinking - a playful visual workout for the mind, driven by curiosity and experimentation rather than a predefined concept. The series 2 Reality / The Daily Life of Gods brought him wide recognition - an ironic visual experiment where characters from classical paintings find themselves in the setting of everyday city life, absorbing contemporary concerns and sharing our space. Kondakov describes his artistic approach as Documentary Surrealistic Photography - a genre of documenting the impossible but so close to us all. The author continues to develop this project to this day.Lives and works in Ukraine.

Llael McDonald's work is moody and nostalgic, with underlying narratives that change from viewer to viewer. Delving into the familiar and bringing forward the ordinary to be presented to an audience with emotional and visual elevation, Llael aims to ignite conversations about our collective history, the diversity of culinary traditions, and the integral role of food in shaping contemporary society. Her work serves as a visual feast, stimulating the viewer's senses and intellect. It prompts us to recognise and appreciate the influences that have contributed to the development of civilisation, urging us to celebrate the power of food as a unifying force and a testament to our shared human experience. Llael McDonald grew up in the inner-city Melbourne suburb of Spotswood and showed and early propensity toward the visual arts, particularly painting, which set her on the path as a professional artist at a young age. In her tertiary years Llael attended ICAD (independent college of Art and Design) situated in the creative and high energy hub of Chapel Street Melbourne. She studied painting under artist Terri Matassonni and graduated with one of the top portfolios in 1996.

Ksenia Shinkarenko is a Melbourne based contemporary artist exploring the balance between structure and organic movement. Through natural textiles, plant-based dyes and layered compositions, she creates surfaces that feel grounding and imbued with warmth. Spending her early years in Japan shaped her appreciation for subtle detail and material integrity, principles that continue to inform her work today. Later, moving to Australia brought a slower rhythm, leading her towards an art practice shaped by a deepening connection to the landscape. She now works primarily with natural fabrics and organic materials that carry a trace of time and place. Her process is open-ended, allowing each piece to take shape with its own rhythm. “I explore surfaces that invite touch, that feel alive in the way they hold warmth, like cotton, bamboo and hessian.” At its core, Ksenia’s work is about unity and connection, creating space to slow down and notice what’s beneath the surface.

Stella Tavener is an artist living and creating on Wurundjeri Country. Her paintings are born entirely of impulse, embracing the joy of gesture and the action in painting itself. Her works embrace the raw and awkwardness of life and love, enjoying a sense of play and emotion.