Mathias Milhaud (France) painter and sculptor.

He started doing sawed objects,often painted witch form’s looks like extensions of the recurrent naive or « simple » forms of the paints, making another bridge between the square canvas and our space.

These objects places in a natural context like shadow in the trees, are left there as testimonies, reflects, of our quick passage in this earth.

Hidemi Shimura (Japan) Shizuoka.

We generate our own environment. We get exactly what we deserve.

–from “ONE” by Richard Bach

Is this a world we really desire? Is there any ideal world somewhere else? What do we do there? What

kind of scenery can we see there?

With "Parallel World" the artist will create an installation consists of many mobiles in movement using diferent materials, as colorful embroidery threads, to transport visitors in the reflection of a parallel world.

"Sometimes people think and talk about ‘What is Art?’, and try to find the answer though they never can’t get the right answer.Art is often thought as difficult and high-toned thing, but most of the Art come from the people’s ordinary life. Artist is just one of the ordinary people, Artist is just cutting off the part of these ordinary life, and shape it into their artworks. Artist can’t exist at the place without peaceful life. Real art may exist in the battlefield, but Artist can’t live in battlefield. ‘Existance of Artist’ could be proof of Peaceful, and Artist should be aware of that fact. Practically, Artworks are useless and nothing for use. But they sometimes give us little happiness, sometimes become the source of great power, I’ll try to bring out these kind of feelings or power to the people’s life. That’s my job as an Artist."

Hidemi Shimura

Yao Shinya (Japan)

In the modern world, we are surrounded by what we have created. With the development of technologies, the human ability to intervene in the nature has got to reach the level where the environment became unpredictable. We could build our environment, relying on our images of the future. But there is a feedback cycle where no one knows its beginning. Beyond certain point, it could be hard to determine whether something is significant or only a gone image of the future or a candidate of monuments of failure. An intervention in the environment is to bring unpredictability of the human activities there. In the modern world, we are involved in ourselves. It means that we have lost outside.

As a result, the development has reverted its direction to inside. Now we are not only subjects but also objects of the development. We could be statistically counted, calculated, normalized, standardized and so on. The paradox is that diversity has become a potential obstacle for the modern technology although it is an essential element of our life.

In days gone by, to make something repeatable was the goal of technology as well as human society. In days to come, we will have to find the way to preserve diversity.

Contemporary arts are involved in the similar situation. On the one hand, the art is technology as an accumulation of technique to give things repeatability. On the other hand, its history is an accumulation of diversity of individual imagination. If the art will side only the public development or social significance, it will lose diversity. If it will side only personal situation, it will lose its relation to society.

The art is ambiguous because it intermediate public and person. I believe that such an ambiguity have a potential to change a limitation into a chance. By creating, inventing or defining something in a different way, and by touching individual imagination, the art can move,shift or shake the boundary between public and person. And that is my standpoint as an artist.

In days gone by, to make something repeatable was the completion of art. In days to come, to make something diverse will be the repetition of art.

Frances Cordero de Bolanos (El Salvador) living in Ontario) is interested in exploring new avenues in mix media for expressing his feelings and thoughts. The use of different media allows for versatility, and it feeds to his urge for trying different things. For instance, rust is a medium that he like to use in his works because it is corrosive, and it degenerates. He find that it allows him to draw abstract portraits of disappearance, loss and death.

Various indigenous groups including our Mayan culture use smoke in rituals, and it is considered sacred. Other religions such as the Catholic Church burn incense during services as a symbolic gesture of prayer and offering; the burning, the smoke along with its smell is akin the presence of God. However, smoke has negative connotations. He see smoke as evidence of destruction, as a result of war assaults. He find it intriguing to see how the smoke begins as a thick mass and then it dissipates as it ascends to the open sky as if it is the material manifestation of the soul’s journey.

Jan Gaudissabois (Belgium) who is often on the move, geographically, but also creatively. With a solid passion for painting, and a nod to the avant-garde, he is always drawn into abstraction, as it breathes a certain flair, of honesty, endlessness, reaching beyond the usual confinements. The paint becomes the subject itself, nude, raw, with a certain dramatic edge, an edge of confusion, chaos, mass, never pretends to be anything else but that. "

"Jan Gaudissabois 是 比利时人，经常旅行，极富创造性。怀着对绘画坚实而热烈的激情，以及对先锋派的认同，经常沉浸在抽象艺术的他得以展现自己的天分，并且为了超越艺术的 边 界而毫无保留、无穷无尽地去探索。其抽象的画面就是主题本身，赤裸、原始、戏剧化且带有迷思的边缘，混乱、团块，无需伪装成其他，所见即所得。"