Working mostly with ink on paper, Andrea Wan sees her work as a visual journal that reflects her thoughts and experiences. Her drawings combine traditional narrative aesthetics with eerie and surrealist qualities, depicting a world with great sensibility. Andrea finds inspiration by looking outwards to observe her surroundings such as people and places, and looking introspectively into the obscure corners of her subconscious.

Title: Old Dream Collectors

Working mostly with ink on paper, Andrea Wan sees her work as a visual journal that reflects her thoughts and experiences. Her drawings combine traditional narrative aesthetics with eerie and surrealist qualities, depicting a world with great sensibility. Andrea finds inspiration by looking outwards to observe her surroundings such as people and places, and looking introspectively into the obscure corners of her subconscious.

Title: Old Dream Collectors


Fintan Magee-Born in Lismore NSW, Fintan Magee moved to Brisbane as a child and began drawing shortly after. In his early teens he was exposed to Brisbane’s graffiti culture and became heavily involved in Brisbane’s 3rd wave graffiti generation.
He is currently based in Sydney and has moved away from traditional graffiti in recent years. His large-scale murals often inhabit the isolated, abandoned and broken corners of the city. Mixing surreal and figurative imagery his paintings are deeply integrated with the urban environment and explore themes of waste, consumption, loss and transition and contain a sentimentality and softness influenced by children’s books.
He has traveled extensively completing projects in such cities as Sydney, Melbourne, London, Vienna, Los Angeles, Miami, Atlanta, Copenhagen, Moscow, New York, Oslo and Dublin amongst others. His diligence, technical skill and progressive approach to painting have solidified him as one of the leading figures in Australia’s Street Art and Contemporary Mural movement.
  • Camera: SONY DSC-HX1
  • Aperture: f/4
  • Exposure: 1/100th
  • Focal: 5mm

Fintan Magee-Born in Lismore NSW, Fintan Magee moved to Brisbane as a child and began drawing shortly after. In his early teens he was exposed to Brisbane’s graffiti culture and became heavily involved in Brisbane’s 3rd wave graffiti generation.

He is currently based in Sydney and has moved away from traditional graffiti in recent years. His large-scale murals often inhabit the isolated, abandoned and broken corners of the city. Mixing surreal and figurative imagery his paintings are deeply integrated with the urban environment and explore themes of waste, consumption, loss and transition and contain a sentimentality and softness influenced by children’s books.

He has traveled extensively completing projects in such cities as Sydney, Melbourne, London, Vienna, Los Angeles, Miami, Atlanta, Copenhagen, Moscow, New York, Oslo and Dublin amongst others. His diligence, technical skill and progressive approach to painting have solidified him as one of the leading figures in Australia’s Street Art and Contemporary Mural movement.


Albert Stern (Stickrust) "My paintings are not portraits. They are inspired from the work I do as an acupuncturist and body worker. As a healer I work with my clients’ bodies as well as their energy, spirit, and personal power. Through this healing work, I watch people transform, grow and find their Personal Light. Transformation is not always easy or pretty but it is always beautiful. It is a powerful journey full of darkness and light. My paintings look to capture the beauty of the journey. 
These paintings are created with my hands, fingers, and minimal tools. No brushes are used. Albert paints, teaches, and works with clients in Denver CO.” 
Albert Stern (Stickrust) "My paintings are not portraits. They are inspired from the work I do as an acupuncturist and body worker. As a healer I work with my clients’ bodies as well as their energy, spirit, and personal power. Through this healing work, I watch people transform, grow and find their Personal Light. Transformation is not always easy or pretty but it is always beautiful. It is a powerful journey full of darkness and light. My paintings look to capture the beauty of the journey. 
These paintings are created with my hands, fingers, and minimal tools. No brushes are used. Albert paints, teaches, and works with clients in Denver CO.” 

Christian Espino- My work is about  expressing a metaphysical side to a subject or entity rather than being an actual representation of it , it should be a curious reminder of the emotions and history each one us carry around but easily dismissed as the past , hopefully the work is able to reach the viewers in a very private experience that invites them to search into the unknown.
  • Camera: HTC 6500LVW
  • Aperture: f/2
  • Exposure: 1/147th
  • Focal: 3mm

Christian Espino- My work is about  expressing a metaphysical side to a subject or entity rather than being an actual representation of it , it should be a curious reminder of the emotions and history each one us carry around but easily dismissed as the past , hopefully the work is able to reach the viewers in a very private experience that invites them to search into the unknown.


Kenor (Barcelona)- “Kenor’s organic, kaleidoscopic productions are geometric representations of sound and movement, visual interpretations of music and dance in two-dimensional form. Whilst the production of art must always be understood as a performative act then, Kenor’s images are saturated with this corporeal trace, artefactual remnants of his burning energy. Their multicolored, effervescent hues, their fluid, protean contours, mean we are forced to enter into, to travel into his paintings, to travel within his “abstract architecture”, his architecture “floating in the cosmos”.
Up until 2000, Kenor was focussed on more traditional urban art, obsessed with typography, logos, and textual experimentation. Yet as the Barcelona movement gathered pace, Kenor found himself wrapped up within the changes, forming designs which functioned as “parallel worlds, dreams, hopes, illusions, questions, options and exits”. His urge to transform the city, to counteract the ever encroaching grey with a wealth of colour, has been one which connects these two phases in his career however, an irrepressible urge to “decorate the dead cities”, to make the street a “gallery for everyone”. What thus moves him is the texture of the city, the “boundaries”, the “abandoned, damaged, worn” parts of the street. These sites call him, seduce him, they necessitate repair, resuscitation, reanimation. Kenor has thus become something of a spokesperson (through both his words and images) against the increasing commodification, the greyification of Barcelona, a spokesperson against the new laws which have come to repress so much of the cities previously active street-life. From skateboarding to performance art, break-dancing to busking, street practices have been curtailed whilst the city still attempts to market itself through its liberal, cultural heritage: “They made their own city, and their evolution goes the way they choose, yet it also contaminates the future, keeping marks for another kind of culture in our streets…They want to promote only for their interest. They support for a day the same people they punish to win the sympathy of the young people”.
Despite this, Kenor has continued to produce, to revivify the city, his works increasing to a now monumental size, covering walls all over the world. Yet he has also moved into new realms, not only installatory and sculptural, but a deeper progression into video and performance art. Films such as “Floating Points”, “Dentro de mi”, and in particular “Cualquier lugar, un dia cualquiera”, more readily display the connection between dance and inscription, the choreography of the image. Like a living organism, Kenor thus simply wants his work to keep constantly evolving, to “re-create spaces of freedom”, submitting the viewer to “endless options”. Whatever medium he works within then, he wants the recipient of the image to be a “free player”, a player “able to choose and imagine a new dimension that allows it to grow”, one unrestricted by the image, captured by infinite possibilities of the line.”

Title: Desconstruccion Energia 195 x 130 Barcelona

Kenor (Barcelona)- “Kenor’s organic, kaleidoscopic productions are geometric representations of sound and movement, visual interpretations of music and dance in two-dimensional form. Whilst the production of art must always be understood as a performative act then, Kenor’s images are saturated with this corporeal trace, artefactual remnants of his burning energy. Their multicolored, effervescent hues, their fluid, protean contours, mean we are forced to enter into, to travel into his paintings, to travel within his “abstract architecture”, his architecture “floating in the cosmos”.

Up until 2000, Kenor was focussed on more traditional urban art, obsessed with typography, logos, and textual experimentation. Yet as the Barcelona movement gathered pace, Kenor found himself wrapped up within the changes, forming designs which functioned as “parallel worlds, dreams, hopes, illusions, questions, options and exits”. His urge to transform the city, to counteract the ever encroaching grey with a wealth of colour, has been one which connects these two phases in his career however, an irrepressible urge to “decorate the dead cities”, to make the street a “gallery for everyone”. What thus moves him is the texture of the city, the “boundaries”, the “abandoned, damaged, worn” parts of the street. These sites call him, seduce him, they necessitate repair, resuscitation, reanimation. Kenor has thus become something of a spokesperson (through both his words and images) against the increasing commodification, the greyification of Barcelona, a spokesperson against the new laws which have come to repress so much of the cities previously active street-life. From skateboarding to performance art, break-dancing to busking, street practices have been curtailed whilst the city still attempts to market itself through its liberal, cultural heritage: “They made their own city, and their evolution goes the way they choose, yet it also contaminates the future, keeping marks for another kind of culture in our streets…They want to promote only for their interest. They support for a day the same people they punish to win the sympathy of the young people”.

Despite this, Kenor has continued to produce, to revivify the city, his works increasing to a now monumental size, covering walls all over the world. Yet he has also moved into new realms, not only installatory and sculptural, but a deeper progression into video and performance art. Films such as “Floating Points”, “Dentro de mi”, and in particular “Cualquier lugar, un dia cualquiera”, more readily display the connection between dance and inscription, the choreography of the image. Like a living organism, Kenor thus simply wants his work to keep constantly evolving, to “re-create spaces of freedom”, submitting the viewer to “endless options”. Whatever medium he works within then, he wants the recipient of the image to be a “free player”, a player “able to choose and imagine a new dimension that allows it to grow”, one unrestricted by the image, captured by infinite possibilities of the line.”

Title: Desconstruccion Energia 195 x 130 Barcelona


A. Nigh Herndon I believe there is a complex emotional beauty in every human and that a portrait brings this out.
I prefer to paint people that I have met or had some interaction with, a subject that I have an emotional connection with. I take all the knowledge I have of my subject and blend it with my own personal subconscious to make a unique portrait.
All of my works are therefore a painting of my subject and of myself.
I think of my paintings as a subconscious inventory of fragments: memories, desires, dreams, fears, and observations. I want to give the viewer a glimpse inside my creative process and portray an honest and elevated level of reality .
I mix modes of painting to achieve a cohesive piece that revolves around the great universal themes of love, beauty, and death.
I believe my paintings deeply blur the lines between the past, the present, and the future; the dreaming mind and the waking life.
My work oscillates between opposites: portrait and abstraction, love and fear, control and fury, sexual and spiritual.
  • Camera: LEICA C (Typ 112)
  • Aperture: f/3.2
  • Exposure: 1/25th
  • Focal: 6mm

A. Nigh Herndon I believe there is a complex emotional beauty in every human and that a portrait brings this out.

I prefer to paint people that I have met or had some interaction with, a subject that I have an emotional connection with. I take all the knowledge I have of my subject and blend it with my own personal subconscious to make a unique portrait.

All of my works are therefore a painting of my subject and of myself.

I think of my paintings as a subconscious inventory of fragments: memories, desires, dreams, fears, and observations. I want to give the viewer a glimpse inside my creative process and portray an honest and elevated level of reality .

I mix modes of painting to achieve a cohesive piece that revolves around the great universal themes of love, beauty, and death.

I believe my paintings deeply blur the lines between the past, the present, and the future; the dreaming mind and the waking life.

My work oscillates between opposites: portrait and abstraction, love and fear, control and fury, sexual and spiritual.


Sven Ballenthin’s paintings are probably quickly labeled as erotic or even pornographic because of their motives in the public perception. The staff of his paintings seems to to give at first glance right and often it is young women in lascivious melancholy , languid poses. It is less about the animal such as a driving force that could all too quickly draw the viewers attention he should get involved not realizing it. But rather an illusory superficiality which is the vehicle for the deeper understanding of the existential being.By the scrape of the selfsame as it leads behind the incitement that seem to promise this curved body healthy .Since taste presupposes a dominant spectator who dictates what he likes and does not like , and this in , beautiful ‘and’ ugly ’ translated , this one in today’s society understood as universally valid forms - karnon was used by most observers as well is perceived .To create a balance within the painting has been further extended with rather ugly set pieces , so that the eye does not “elektieren” on the naked beauty can do “phallustieren” and forced the contrast of these two diametrically opposite ends of a beauty concept is to contrast them. Also is hereby prevented the provisions adopted it as the viewer to Duchamp :The observer for the ‘victims’ of an ‘aesthetic echoes ’ is standing in a position that is comparable with an amorous man or a believer, which automatically gives up his demanding ego and helpless subjects an enjoyable and mysterious compulsion.With the help of stereotypical aesthetic- emotional patterns of the viewer researching this upgrade and process the abundance of stimuli acting on it permanently . Also, this venture is to come to failure and ultimately to a standstill so that he completely naked and lost the subject of its consideration equivalent facing themselves and so a more optimal vessel forms around the inner vulnerability and disruption of the figures shown by Ballenthin felt. When he would consider his own being and not a complete stranger to him . Even stranger is that in all of us and even crouching to tie lurking around us.All of that is taken up in the paintings by Sven Ballenthin to the depths of existence and restlessness to portray describe without speaking. This Ballenthin feels  at a particularly sensitive spot on : in the soul of today’s young desirable women are insecure at the same time disturbing distortion imposed by social behavior patterns and their relationship to their own bodies and their own sexuality and twisted it affects .The reasons for this are a generally increasing disharmony between inside and outside.Apparently they shamelessly imitate what is presented to them medially stereotypical lascivious poses and seductive games.They lose themselves on several levels of meaning , the dismembered in constant restlessness and simultaneous concentration of their self-perception and role identity , and they can always remain incomplete on after the loss of the center is suspected in a community outside of them. So they constantly to transcend between an “I ‘m everything and nothing ” back and forth .This condition is expressed in a seemingly chaotic pattern of apparent dissolution and merger with the empty space surrounding it .Since not only the inner but also the middle way was lost there, no longer find the new composite physical manifestations so right in their proper place , and feeling out of place , fragmented, incomplete and grotesque.Similarly an identity crisis triggered by the dissolution of time and space boundaries , they float nearly lost their existence and writhe devoured at a breakpoint the ever escapes . There remains for them only the back swing on its own axis at the same time looking for support and to offer .It is quickly gaining the medial styled and made- over bill the already perceived as poor reality that only works today as a echoaler imitation of virtuality. And thus expresses the desire to please and to be desired , in the strangest bending and contortions of irrwitzigsten.

Sven Ballenthin’s paintings are probably quickly labeled as erotic or even pornographic because of their motives in the public perception. The staff of his paintings seems to to give at first glance right and often it is young women in lascivious melancholy , languid poses. It is less about the animal such as a driving force that could all too quickly draw the viewers attention he should get involved not realizing it. But rather an illusory superficiality which is the vehicle for the deeper understanding of the existential being.
By the scrape of the selfsame as it leads behind the incitement that seem to promise this curved body healthy .
Since taste presupposes a dominant spectator who dictates what he likes and does not like , and this in , beautiful ‘and’ ugly ’ translated , this one in today’s society understood as universally valid forms - karnon was used by most observers as well is perceived .To create a balance within the painting has been further extended with rather ugly set pieces , so that the eye does not “elektieren” on the naked beauty can do “phallustieren” and forced the contrast of these two diametrically opposite ends of a beauty concept is to contrast them. Also is hereby prevented the provisions adopted it as the viewer to Duchamp :The observer for the ‘victims’ of an ‘aesthetic echoes ’ is standing in a position that is comparable with an amorous man or a believer, which automatically gives up his demanding ego and helpless subjects an enjoyable and mysterious compulsion.
With the help of stereotypical aesthetic- emotional patterns of the viewer researching this upgrade and process the abundance of stimuli acting on it permanently . Also, this venture is to come to failure and ultimately to a standstill so that he completely naked and lost the subject of its consideration equivalent facing themselves and so a more optimal vessel forms around the inner vulnerability and disruption of the figures shown by Ballenthin felt. When he would consider his own being and not a complete stranger to him . Even stranger is that in all of us and even crouching to tie lurking around us.
All of that is taken up in the paintings by Sven Ballenthin to the depths of existence and restlessness to portray describe without speaking. This Ballenthin feels  at a particularly sensitive spot on : in the soul of today’s young desirable women are insecure at the same time disturbing distortion imposed by social behavior patterns and their relationship to their own bodies and their own sexuality and twisted it affects .
The reasons for this are a generally increasing disharmony between inside and outside.
Apparently they shamelessly imitate what is presented to them medially stereotypical lascivious poses and seductive games.
They lose themselves on several levels of meaning , the dismembered in constant restlessness and simultaneous concentration of their self-perception and role identity , and they can always remain incomplete on after the loss of the center is suspected in a community outside of them. So they constantly to transcend between an “I ‘m everything and nothing ” back and forth .This condition is expressed in a seemingly chaotic pattern of apparent dissolution and merger with the empty space surrounding it .Since not only the inner but also the middle way was lost there, no longer find the new composite physical manifestations so right in their proper place , and feeling out of place , fragmented, incomplete and grotesque.
Similarly an identity crisis triggered by the dissolution of time and space boundaries , they float nearly lost their existence and writhe devoured at a breakpoint the ever escapes . There remains for them only the back swing on its own axis at the same time looking for support and to offer .
It is quickly gaining the medial styled and made- over bill the already perceived as poor reality that only works today as a echoaler imitation of virtuality. And thus expresses the desire to please and to be desired , in the strangest bending and contortions of irrwitzigsten.


Bohdan Burenko-"One day I came across pictures of the soldiers injured during the First and Second World Wars, their faces were completely mutilated by wounds. Some parts of their faces were just absent. The surgeon made everything possible in order to restore the faces of soldiers, they were patched with tissues from other parts of the body. They were given terrible wooden dentures for the face. I have never seen more grotesque and disturbing images. My stomach was filled with fear, and my heart was hanging in the terrible emptiness. At this point, I experienced a terrible inconvenience and discomfort. The image of these poor fellows landed down in my head for a long time. Later I realized what a powerful catalyst of emotions the destruction of the form is. I merged the idea of ​​creating destructive portraits with my style and eventually a cycle called "Gentlemen" appeared.
Visual image plays a major role in my creative work. I am trying to achieve the maximum emotional impact on the viewer with its help. For me, the person is the main theme and the main subject of art, so I depict portraits of people and human figures. I explore the nature of human existence, the relationships of people, human drama. In order the portrait to be as expressive as possible, I spend a lot of time searching for the ideal shape, and later I spend lots of time on its destruction. Correct forms or accurate representation of reality is a boring and uninteresting occupation for me. It seems to me that there is a special appeal in ugly and wrong objects. It’s hard for me to look away from the person with disabilities. I feel dreary, uncomfortable, but I can not stop looking at such a person. In my opinion, the ugliness and destruction are catalysts of strong feelings and they are also serious instruments to influence the viewer. Art should act as the causative agent, a kind of a kick, and it does not matter what kind of emotions the viewer really experiences. The most important thing is that he does not remain indifferent, and all means are good in this respect.”
  • Camera: Canon EOS 5D Mark II
  • Aperture: f/4
  • Exposure: 1/40th
  • Focal: 40mm
Bohdan Burenko-"One day I came across pictures of the soldiers injured during the First and Second World Wars, their faces were completely mutilated by wounds. Some parts of their faces were just absent. The surgeon made everything possible in order to restore the faces of soldiers, they were patched with tissues from other parts of the body. They were given terrible wooden dentures for the face. I have never seen more grotesque and disturbing images. My stomach was filled with fear, and my heart was hanging in the terrible emptiness. At this point, I experienced a terrible inconvenience and discomfort. The image of these poor fellows landed down in my head for a long time. Later I realized what a powerful catalyst of emotions the destruction of the form is. I merged the idea of ​​creating destructive portraits with my style and eventually a cycle called "Gentlemen" appeared.
Visual image plays a major role in my creative work. I am trying to achieve the maximum emotional impact on the viewer with its help. For me, the person is the main theme and the main subject of art, so I depict portraits of people and human figures. I explore the nature of human existence, the relationships of people, human drama. In order the portrait to be as expressive as possible, I spend a lot of time searching for the ideal shape, and later I spend lots of time on its destruction. Correct forms or accurate representation of reality is a boring and uninteresting occupation for me. It seems to me that there is a special appeal in ugly and wrong objects. It’s hard for me to look away from the person with disabilities. I feel dreary, uncomfortable, but I can not stop looking at such a person. In my opinion, the ugliness and destruction are catalysts of strong feelings and they are also serious instruments to influence the viewer. Art should act as the causative agent, a kind of a kick, and it does not matter what kind of emotions the viewer really experiences. The most important thing is that he does not remain indifferent, and all means are good in this respect.”

Joe Gegan- “A native Californian, I feel a deep love for the Bay Area Figurative Movement. While a student at the University of California, Davis, I had the extreme good fortune to study under Wayne Thiebaud.  I received my MFA from Boston University, working closely with John Walker. My interest is in building paintings from intuition, allowing my hand to work one step faster than I think I can control – always searching, moving, finding as I feverishly edit and re-edit until I achieve completeness.  I find painting to be a physical way of thinking, an internal discourse made concrete.  Recently, I have been using the breaking down of old paintings, both my own and those of other artists, and repurposing them through collage.  The action of this decay is psychologically penetrating and allows for interesting new associations, both personal and formal.  My painting has become increasingly sculptural, possessing a physicality that ripples with texture and moves in muscular patterns that add layers of depth.  The paintings are very much about my own reach and the movement of paint, my own physicality and touch as I endeavor to make paintings with a complex psychological presence that tries to capture the soul of a place.”

Title: Seated Man

Joe Gegan- “A native Californian, I feel a deep love for the Bay Area Figurative Movement. While a student at the University of California, Davis, I had the extreme good fortune to study under Wayne Thiebaud.  I received my MFA from Boston University, working closely with John Walker. My interest is in building paintings from intuition, allowing my hand to work one step faster than I think I can control – always searching, moving, finding as I feverishly edit and re-edit until I achieve completeness.  I find painting to be a physical way of thinking, an internal discourse made concrete.  Recently, I have been using the breaking down of old paintings, both my own and those of other artists, and repurposing them through collage.  The action of this decay is psychologically penetrating and allows for interesting new associations, both personal and formal.  My painting has become increasingly sculptural, possessing a physicality that ripples with texture and moves in muscular patterns that add layers of depth.  The paintings are very much about my own reach and the movement of paint, my own physicality and touch as I endeavor to make paintings with a complex psychological presence that tries to capture the soul of a place.”

Title: Seated Man