Agenore Fabbri was born in a small town located between the cities of Pistoia, where he was educated, and Firenze where he came into contact with a bunch of avant guarde intellectuals such as Eugenio Montale (lately Nobel Prize for Literature) and painter Ottone Rosai at the Caffé Giubbe Rosse. Then, in 1935, he transfer to Albisola where he shook just a relationship of close friendship with Aligi Sassu, Arturo Martini and Lucio Fontana and started his career painting pottery of the first post-war period and the sculptures of the early fifties which is the theme of the dog, the animal that fights with the man. In 1948 he moved to Milan and was invited to the Venice Biennale, where he continued to exhibit diligently until the early sixties as he participated in various editions of the Rome Quadrenniale starting in 1952 (1959, 1973). In the meantime he experimented the various materials of Informal Art working with wood, rags, gravel and sand. Starting from the second half of the sixties, he returned to his Expressionist attitudes creating big sculptures of iron and bronze. Since 1982, he discovered the painting that will become prominent in the eighties and the nineties and has won, in the years, worldwide fame. Fabbri was always searching for what is new, not yet decided: thus he varied not only themes, but expressive genres too, and never confines himself to a definite form. His works provoke, question, criticize, destroy the certainties, so reflecting the crisis of the modern society and of its metropolis.

Mara Fabbro was born in Castello d'Aviano in Friuli Venezia Giulia, Italy, where she currently lives and works. After graduation, she began her career while always keeping her passion for painting alive.She studied and worked as a self-taught for many years, experimenting a technique of her own that expressed her sense for art, creating a sandy dough that she spreads and works with her hands, spatulas and other tools, subsequently intervening with acrylic pigment. The choice of this material is determined by the desire to create a "living" work with a strong communicative impact.The material is applied to plywood and PVC panels.The inspiration and motivation of her work come from the observation of the habitat in which the human being lives. She wants to investigate the relationship and the link between man and nature, now almost indissoluble and which, becoming even more complex, requires responsible choices and global attention and management.She uses other expressive mediums such as photography and installations when the manual skills are not sufficient to express the concept or to establish an interaction with the public.Mara has held solo exhibitions and participated in collective exhibitions all over the world, both for public and private entities: Rimini, Mantua, London, Venice, Sacile (PN), Miami, Trento, Conegliano (TV), Geneva, Montreux , Lugano, Lausanne, Palermo, New York.

Visual artist, filmmaker, and hip-hop pioneer Fab 5 Freddy (Fred Brathwaite) was among the earliest graffiti artists to receive recognition in the wider art world. His work bridged the uptown hip-hop scene and the downtown art and punk scene of 1970s and ’80s New York and made major artistic contributions to both. Along with Futura 2000, Keith Haring, Jean-Michel Basquiat, and others, Fab 5 Freddy proved that graffiti was not just a passing trend but an art movement all of its own. In 1979, he and fellow artist Lee Quiñones were the first to exhibit graffiti art abroad, bringing international attention to this emerging American artistic medium; his appearance in the 1983 cult-classic film Wild Style inextricably linked graffiti art with hip-hop music. As a member of the graffiti crew the Fabulous 5, he became known for covering New York subway cars in graffiti, and later went on to produce films and music videos with pop culture icons like Blondie and Queen Latifah.

Geoffroy Pithon is a multidisciplinary artist based in Nantes, France. A graduate of the École Nationale Supérieure des Arts Décoratifs (ENSAD) in Paris, he is known for his large-scale paper paintings and immersive installations—his Cabines—that explore the tension between abstraction and figuration, engaging viewers’ instinct to connect shapes with reality. His practice is rooted in spontaneity, fragmenting and reassembling his own works into vibrant, energetic fields where every gesture remains visible. Life is omnipresent in his approach, as he considers paper a “medium for recording gestures and outbursts.”Influenced by Post-Impressionist movements such as the Nabis and the Fauves, as well as by David Hockney and Pierre Alechinsky, Pithon combines bold color, expressive gesture, and layered techniques to create works that balance immediacy and reflection.He has exhibited in cultural centers and public art institutions across France, including the Centre Culturel de l’Ouest (CCO) and the Église Saint-Eustache in Paris. His first museum solo exhibition will be held at the Chengdu Museum of Contemporary Art in China. In parallel, Pithon has collaborated with luxury brands, most notably Hermès, for which he has designed multiple projects—including ephemeral scenography for a dozen boutiques across the United States.

Manyaku Mashilo is a South African artist whose work spans mixed-media painting, drawing, and collage. Her practice explores themes of spiritual identity, memory, ancestry, and belonging, drawing inspiration from photographic archives to create expansive, abstract scenes. Mashilo’s works depict Black figures migrating through celestial, liminal spaces, symbolizing both spiritual and ancestral journeys. Using family photos and historical imagery, Mashilo blends personal and collective memory to construct “cosmological landscapes” that imagine new futures and renegotiate identity and representation.Her 2023 solo exhibition “An Order of Being” was held at Southern Guild Cape Town, followed by “The Laying of Hands” at Southern Guild Los Angeles in 2025—her U.S. debut. Mashilo has exhibited at Gagosian (London), Kunsthal KAdE (Netherlands), MoAD (San Francisco), Iziko South African National Gallery (Cape Town), and the Stellenbosch Triennale. Her work is held in prominent collections such as the White Rabbit Gallery, Hort Family Collection, Pizutti Collection, and others.

Since 2011, Agrade Camíz has been developing her artistic research in painting, initially in the streets, and later expanding into installations, video art, and photography. Seeking to dissect the banal, the almost invisible, she reveals deep and almost secret layers between figurations, abstractions, geometries where she disputes established narratives. Using signs of popular housing, Agrade redefines spaces and concepts, creating new places. Her work is characterized by its density, its layers that reflect the chaos and intimacy of these geographical and bodily territories.

Heidi Lau’s practice embraces clay as an ideal conduit for exploring the malleability and materiality of time. Her hand-built clay formations range from intimately scaled figures to site-responsive installations, melding organic bodies with totemic objects and primordial monuments. Large-scale architectural columns ripple like the spine of a massive creature, while the textured, earthen surfaces of her vessels recall coral structures or fossilized ruins—holding a vital presence suspended between life and decay. Drawing upon Taoist mythology, Chinese landscape painting, and vernacular spiritual practices, Lau’s ceramics explore anti-categorical imaginings of material and space, channeled through personal memory and ritual.Heidi Lau grew up in Macau and is based in New York. Her work has been exhibited internationally, including at the 58th Venice Biennale, the Bronx Museum of the Arts, M+ in Hong Kong, the Macao Museum of Art, The Metropolitan Museum of Art, and UCCA Clay in Yixing, China.