Alejandro Cartagena

Alejandro Cartagena, Mexican (b. 1977, Santo Domingo, Dominican Republic) lives and works in Monterrey, Mexico. His projects employ landscape and portraiture as a means to examine social, urban and environmental issues. Cartagena’s work has been exhibited internationally in more than 50 group and individual exhibitions in spaces including the the Fondation Cartier pour l’art contemporain in Paris and the CCCB in Barcelona, and his work is in the collections of several museums including the San Francisco MOMA, The J. Paul Getty Museum, The Museum of Contemporary Photography in Chicago, The MFAH in Houston, the Portland Museum of Art, The West Collection, the Coppel collection, the FEMSA collection, Museum of Fine Arts in Houston, the George Eastman House and the Santa Barbara Museum of Art and among others.

Alejandro is a self publisher and co-editor and has created several award wining titles including Insurrection Nation, Studio Cartagena 2021, Santa Barbara Save US, Skinnerboox, 2020, A Small Guide to Homeownership, The Velvet Cell 2020, We Love Our Employees, Gato Negro 2019, Santa Barbara Shame on US, Skinnerboox, 2017, A Guide to Infrastructure and Corruption, The velvet Cell, 2017, Rivers of Power, Newwer, 2016, Santa Barbara return Jobs to US, Skinnerboox, 2016, Headshots, Self-published, 2015, Before the War, Self-published, 2015, Carpoolers, Self-published with support of FONCA Grant, 2014, Suburbia Mexicana, Daylight/ Photolucida 2010. Some of his books are in the Yale University Library, the Tate Britain, and the 10×10 Photobooks/MFH Houston book collections among others.

Cartagena has received several awards including the international Photolucida Critical Mass Book Award, the Street Photography Award in London Photo Festival, the Lente Latino Award in Chile, the Premio IILA-FotoGrafia Award in Rome and the Salon de la Fotografia of Fototeca de Nuevo Leon in Mexico among others. He has been named an International Discoveries of the FotoFest festival, a FOAM magazine TALENT and an Emerging photographer of PDN magazine. He has also been a finalist for the Aperture Portfolio Award and has been nominated for the Santa Fe Photography Prize, the Prix Pictet Prize, the Photoespaña Descubrimientos Award and the FOAM Paul Huff Award. His work has been published internationally in magazines and newspapers such as Newsweek, Nowness, Domus, the Financial Times, The New York Times, Le Monde, Stern, PDN, The New Yorker, and Wallpaper among others.


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Gustavo Torres

Gustavo Torres is a multidisciplinary artist that lives and works in Buenos Aires, Argentina. He’s an independent motion graphics designer, illustrator and 3D artist working online since 2005. His work is eclectic, with a strong background in beauty arts that allowed him to explore and discover a unique voice through the years. From surrealism, Lo -fi, classic 80’s/90’s,passing through hand-drawn animation and 3D modelling, the diversity of techniques derived in great collaborations and client projects. Human loneliness, the connection with the other, the existence are regular topics in his work. But also a constant renewed nostalgia is always present somehow in the work. 

His clients include Justin Bieber, Apple, Tumblr, The Weeknd, Nas, Honda, Instagram, Adidas, Maroon 5, Chromeo, A-Trak and the list goes on. Kidmograph was born as a concept in 2012 with the objective of growing an universal but at the same time personal library of animated loops that chases a feeling, a sensation, sometimes abstract, sometimes too literal. sometimes broken, sometimes clean and pure. The concept of an endless loop (GIF) was the main resource to bring and share these ideas to life back then.Not only because the format can be loop-able, but also every computer can run it. The endless GIF (sometimes cheerful and dynamic, sometimes oppressive) exemplifies perfectly our need of transcendence in a finite world.


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Dehiscence is a Toronto based artist whose artworks are visual anthropological explorations of the human experience. She is inspired by her previous work in anthropology and her current career in healthcare. She has been internationally exhibited widely throughout North America and Europe. She has been featured on CBC Arts: Exhibitionist TV Series and has been published in magazines, medical journals and on book covers. Her artworks are included in the permanent collections of Toronto General Hospital, The Centre for Addiction and Mental Health and The Rotunda Hospital in Dublin, Ireland.

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Pierre Gervois

Pierre Gervois is a visual artist living and working in New York City. He started painting in 1988, and incorporated elements of language in his work in 2000. Since 2019, his work is the witness of the American society with our judgement, emotion, or stated point of view. Although he uses language in his work, Pierre Gervois is neither a novelist or a poet. The elements of language that inhabit his works do not exist separately from the entire artwork. They are organically part of the subject (the black rectangle) and the singularity (the small rectangle on the right side). These elements of language lose their meaning if they are considered separately and therefore cannot be considered as quotes. They are exactly what they are, in their purest and original intent, as markings on a material surface of undefined scale, in an unspecified location, at an unspecified time.

Stephanie Fuller

Stephanie Fuller has worked in the arts industry in Britain and Australia for the last thirty-five years. During this time Stephanie Fuller has exhibited professionally as an artist, published an online art magazine, edited several books on art, founded and run a not-for-profit art foundation and organised lectures and published pamphlets of lectures by people who are experts in their fields within the arts internationally. These lectures were held at institutions such as The Tate Galleries (London, Liverpool and St Ives), The Slade School of Fine Art and The Courtauld Institute of Art in London.

Stephanie Fuller is an artist, both Australian and British, recently moved back permanently to the UK. Her expressionistic style is concerned with the Human Condition and our relationship to the natural world. Fuller studied painting, drawing and sculpture at Bath Academy, Norwich Life Room and Wimbledon School of Art where she developed her technical skills. But her late husband, Peter Fuller, was the inspiration for the development of a rounded interest in ideas and a passion for beauty and the importance of culture. Her early childhood development by the sea in a remote part of Western Australia gave the artist a sense of oneness with the natural world.

Most of the artist’s work revolves around eco awareness, bringing people back to nature and making them aware that we are animals and are all connected. Her creatures are people and her people are creatures. Fuller has exhibited and been collected by museums and private collectors around the world for the last three decades. In a strange turn of fate one of her large paintings was lost in the 2020 fires in Australia.

Fuller has also been fortunate to visit many artists’ studios over the years including members of the Bomberg School, Leon Kossoff and Roy Oxlade.  The drawing skills and teachings of David Bomberg, and his idea of the “spirit in the mass” getting beyond appearances to the intuitive essence of a subject, has been a journey the artist is on and will continue to develop in her work.

The Screenplay, “Modern Art” by Laurence Fuller, includes elements of Stephanie Fuller’s early life and career. The Screenplay is winning awards and has been a finalist in many film festivals around the world.

In 2021 the artist began to mint NFTs which caused a sensation in the NFT Community with Fuller’s Edition Drops selling out on the day and increasing in value on the secondary market. Since Fuller first began minting NFTs she has been exhibited in an exhibition at and invited to exhibit with new galleries showing NFTs.

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