Nicolás Blanco, b. 2001, Mexico. Blanco is a graduate of the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" (ENPEG). His work explores the relationship between time, space, and human experience through a plastic approach that questions materiality and its capacity to contain and transform meanings.

In The Memory of Space, the grooves and perforations on the surface are not merely physical marks but gestures that challenge and dismantle the notion of a static or immutable space. These works invite us to recognize that space is not an empty container but a living entity, charged with memory and marked by the traces of everything that has passed through it—a silent witness to our interaction with it.

Deeply inspired by nature and the fundamental elements that compose our reality, Blanco's work is rooted in detailed observation, free from judgment or critique, capturing the essence of his surroundings. Three-dimensionality is central to his practice, as his relationship with the world manifests through reliefs and volumes. The Memory of Space explores materiality as a mirror of human experience: a place that holds both the fragility of the ephemeral and the permanence of memory.

This project explores materiality as a mirror of human experience: a place that holds both the fragility of the ephemeral and the permanence of memory. The Memory of Space invites us to observe, feel, and reimagine emptiness not as an absence, but as an active presence that shapes our lives.

Seinada Ng, b. 2002, now studies and lives in the USA. Senaida is an experiential artist and researcher exploring the intersection between art, technology & transcendent collective experiences. Her work embodies a profound exploration of the intersections between sonic cyberfeminism, post-humanism, generative art, AI ethics, and sustainability. Senaida crafts liminal collective experiences that challenge and redefine the boundaries of art and technology.

"CHROMESTHESIA" is an improvised live performance, showcasing a custom-designed paintbrush instrument at NYU Interactive Media Arts. This unique instrument translates colors into sound, facilitating the creation of a dynamic, live improvised painting-composition. As the musical intensity escalates, the brushstrokes and movements synchronize with the rhythmic elements, establishing a captivating creative feedback loop between the artist and the music.

The word, chromesthesia, refers to a type of synesthesia in which sound involuntarily evokes an experience of colour, shape or movement. This instrument was inspired by the British-Irish artist and cyborg, Neil Harbisson. The piece is meant to be simultaneously a live composition and a live painting performance. The project was Nominated for "Best Performance" at Wavy Awards 2024. Featured in "Make: Wearable Electronics" by Kate Hartman

“PFIFF” is a collaborative interactive installation that explores the relationship between our bodies and space: physical, digital and augmented. This multidimensional installation draws from Italian futurism and the laws of movement to question where our own bodies end and the matter around us begins. " This installation is to address the way in which we, as physical beings, manifest in a space and our relationship to the natural and artificial world we live in.

DEEEEEEEEP is a provocative series of paintings that delves into the interplay between the visible and the invisible, and the surrender of control. Utilizing unconventional mediums—fluids from the human body—the works reveal a raw and intimate exploration of what lies beneath the surface of human experience. Echoing the anti-establishment ethos of Dadaism, these paintings challenge traditional artistic norms and mediums, rejecting rationality in favor of spontaneity and instinct.

Guanyi Chen (b. 2001, China) is an artist graduated from the Slade School of Fine Art. The idea of rhythm and system exist in nature and man-made machines intrigued her. In her paintings, she was trying to explore the ambiguous but sensitive boundary between living beings and mechanized devices.

Guanyi is intrigued by the systems in the human body, human society, and the machine which operates in a circulatory way with a repetitive, but not always identical pattern. The artwork above is inspired by the disordered lines and patterns seen through a computer screen or camera lens. Guanyi captures fleeting illusions and transforms them into abstract paintings. By reconstructing these transient patterns from memory, she examines the questions of ephemeral vs eternal, illusion vs reality.

Tokamak, a machine that confines a plasma using magnetic fields in a donut shape torus. The artist is inspired by the the way that Tokamak holds nuclear energy by magnetic fields - a sense of self-regulating and self-disciplinary. Machines, as a modern technology and a human invention, rooted deeply to a fundamental spirit of humanity and civilization. They are functioning not merely as a tool, but also an archeological device representing "us", "intelligence", and a part of human "project".

Paterne Dokou(b.1993, Benin), now studies and lives in France. His work explores the concept of "second life" for both humans and materials, drawing inspiration from his African roots. To address the environment issues , particular the pollution issues in Africa, Dokou uses recycling materials such as rubber, iron, burlap and paper as the main materials to work with.

Atchô serves as a powerful symbol of the Xwéda people, embodying their rich mythological and historical heritage. Its structure echoes the sacred python’s skin, a revered figure in Xwéda culture. The artist repurposes discarded rubber from underground water pipes in Benin, a material heavy with the historical scars of Africa’s exploitation and colonization, transforming it into a work of profound cultural and historical significance.

This artwork uses 3 cm high, 6 cm diameter rubber pieces, repurposed from stoppers used to seal cans of smuggled petrol, known locally as "Essence kpayo." Referencing Africa's history of rubber and oil exploitation, the artist employs a “Cut and Paste” approach to reclaim these materials. For them, these stoppers serve as timeless witnesses to resource exploitation and suffering, as well as symbols of colonial identity and the resilience of affected communities.

Vera Teplyakova ( b.2003, Russia), now lives in Georgia. Teplyakova is a young artist whose work transforms personal experiences and emotions into compelling visual narratives. Her work invites reflection, using simple imagery to tell complex stories and spark dialogue on social issues. She uses wood, plywood, and MDF as the main media to work with.

This work is part of the WOMEN series, which explores the invisible connection between generations of women across time. A Renaissance girl is depicted with a cigarette and a piercing, blending past and present to highlight the evolving nature of female identity. The juxtaposition emphasizes that women continuously redefine themselves, while the piercing symbolizes autonomy, uniting them across centuries in their ongoing struggle for self-expression.

Yibei Liu (b.1998, China) , figurative sculptor now lives in UK. Her work explores the complexities of human conditions, visualizing the experience of being trapped in emotional loops, revealing the psychological undercurrents behind these recurring states. Liu’s work not only captures individual emotional struggles but also examines their broader psychological and societal contexts,offering a contemplative space for introspection and connection.

This artwork marks a shift from exploring emotions to examining human behavior within today’s societal framework. A monstrous figure, symbolizing power and capital, looms over a sea of agonized, suspended figures—those excluded from privilege yet relentlessly pursuing it. The multi-faced head, once a symbol of chaotic thoughts, now represents the overwhelming flood of information.

Lawrence Kyere (b. 1995, Ghana) currently lives and studies in the USA. Deeply rooted in African heritage and culture, he weaves narratives, traditions, and history into vibrant textile collages. Inspired by the legacy of African ancestors and overlooked aspects of collective heritage, Kyere uses his work to tell powerful stories, preserving and reinterpreting African identity through the rich medium of textile art.

This artwork is part of the portrait series of some African, African American heroes who has contribute to the freedom and justice for black people. This piece is a fabric collage portrait of Martin Luther King Jr.

David Aston(b. 1975, UK), a British artist working at the intersection of art, science and anthropology. His broad research- based practice looks through a diachronic lens to explore how the evolution of technological determinism, digitisation and artificial intelligence influence and shape contemporary societies and our humanity. Aston is an elected member of the Royal Society of Sculptors and his work has been shown nationally and internationally.

Oracle is a sculptural Artificial Intelligence (AI) future prediction simulator. A multi-media sculpture taking the form of a deconstructed one arm bandit made in the same year as the Dartmouth conference (1956) and with the serial number 000001950. The machine is intended to be used as an oracle to generate future predictions for AI - the dates for the realisation of human-level machine intelligence, super-intelligence and the outcome for humanity.

Oracle II (Superintelligence: Existential Risks, Mitigations and Outcomes) is an Artificial Intelligence (AI) Superintelligence future scenario simulator. An oracle and work of AI gamification made to simulate AI future scenarios using real data from the latest research into AI existential risks, mitigations and impacts. It is the second in a series of sculptural and digital Oracle future prediction simulators in response to the latest research into AI existential risks, and future scenarios.

The Corporations of R.U.R, restored antique period correct (c.1920) painted and gilded gesso on wood film notice board, acetate letters and registered domain names (.coms) for each corporation. The Corporations of R.U.R marks the centenary of the introduction of the word robot into the human lexicon and engages in the broader debate around the future coexistence and governance of humans and artificial intelligence.