Amaan Jahangir is a UK-based artist specialized in contemporary painting and mixed media , exploring the intricate facets of the human condition and cultural narratives through vibrant color choices and text. His creations reflect the raw essence of passion and intimacy, aiming to capture the structured chaos of life and bridge the gap between unspoken thoughts and words.

Jahangir explores nuanced communication, drawing inspiration from various contemporary cultural sources, history, and religion. Jahangir incorporates symbolism as deliberately subjective, inviting viewers to actively engage with his work and to project their desires and anxieties. Vibrant colors and dynamic brush strokes convey immediate passion, reflecting life’s chaos while recalling the chronological style of ancient tapestries.

Since 2017, Jahangir has participated in exhibitions at Ikon Gallery (2021), Eastside Projects (2023), among numerous other galleries, and has presented two self-funded pop-up shows – ‘Everything to Get Away’ (2018) and ‘Millennium of a Moment’ (2019).  Most recently, he was awarded a fully funded artist studio space and residency at Grand Union, Birmingham, UK. His work has received the online attention of critics such as Jerry Saltz, and world-renowned institutions such as Tate Modern, London.

“Growing up in a council house, art transformed my perspective and empowered me to explore personal agency in the face of adversity. Now, at 25, I explore South Asian folklore and incorporate digital media within my practice, harmonizing contemporary stories with age-old myths. Beyond my studio practice, I contribute to my community through workshops, talks, tutoring, and collaborations with charities. My aspirations extend beyond the art world, aiming for a lasting impact in broader societal and cultural realms.”

Goyong is a Seoul-based digital artist who records the conquest of dimensions.

“After studying sculpture in college and working as a full-time artist assistant for others, I studied art history and coding. During this time, I found my voice – my own story – and looked closely at the evolution of art as the industry developed. To me, the era of the fourth industrial revolution we are living in now is ultimately the conquest of dimensions; this is what I express in my work.

Coding has allowed me to immerse myself in this concept. I directly experience the data movement and operation rules working inside the monitor by composing the code myself. My work strives to convey the dimension between the monitor we are looking at and the image. And through that intention, I express what is currently the object of human desire. We are conquering the dimension. I think that is AR, VR, crypto, and metaverse.

I’ve chosen the recent nature motif for my work because it is something everyone has experienced. And nature is a locale away from modern life, away from the many thoughts and decisions we make living in a lake of information.

My goal is to become an artist who will be recorded in art history, as I have found my answers in art history. I will continue to express my thoughts on digital, art, and society in my way and want to be remembered as an artist who recorded the fourth industrial revolution.”

Rebecca Rose is a Florida-based, award-winning new media artist who explores human narratives using various collage methods: analog, digital, sculptural, animated, holographic, 3D, and immersive installations, among others.

The two 1/1s, 𝙏𝙧𝙞𝙖𝙡 𝙤𝙛 𝙩𝙝𝙚 𝘾𝙚𝙣𝙩𝙪𝙧𝙮 and 𝘼𝙣 𝙄𝙣𝙣𝙤𝙘𝙚𝙣𝙩 𝙈𝙖𝙣, take the viewers through 3D spatial collage animations of courtrooms; one depicting a theatrical sequence of a high profile case where the guilty is acquitted, the other depicting a quieter scene where the innocent is convicted. The open edition, 𝙏𝙝𝙚 𝘾𝙤𝙪𝙧𝙩 𝙤𝙛 𝙋𝙪𝙗𝙡𝙞𝙘 𝙊𝙥𝙞𝙣𝙞𝙤𝙣, depicts the aftermath of the two through the public’s perception.

The pieces are intended as a triptych, each scene has a relationship to the other. And a relationship between art and viewer emerges with the challenging choice made between collecting each one. Do you resonate with the flashy theatrical one knowing full well the guilty walks free? Do you respond to the quiet, more mundane one knowing the innocent is unjustly sentenced? Or are you here for public consumption, the court of public opinion, and the performance of it all? Choose wisely, which one you collect may reveal more than you wish to realize.

The three collages contain over 500 individually different image assets in total. When sculpting in 3D, each transparent cut out layer has depth between them allowing the camera movement to pick up that distance and capture changes in speed -the closer the layer is to the camera the faster it moves, the farther it is the slower- akin to how we perceive depth and movement in the real world.

“I position the camera movements through these 3d digital scenes to guide the viewer through the story as it unfolds. For these works, the camera positions, timing, and movements are intentionally similar to show the similarities and contrasts between the differing versions of our judicial system taking place when played side by side.”

The collection of works are part of my ongoing DeepCuts series, 3d collages with depth inspired by songs. The inspiration behind this triptych is loosely influenced by Pink Floyd’s “The Trial”.