Andrei Dorokhin was born in Ekaterinbourgh, Russia in 1963. Formerly an architect, he now works as an artist and illustrator for publications such as Rolling Stone Magazine (Russian Edition).

Andrei uses acrylics and a rare, multi-layer Indian ink technique, and works mostly on mythological themes.

Currently, the artist lives and works in Minsk, Belarus.

Through my photography I seek to challenge traditional ideas of therelationship between self and the body. I am trying to present vision of the subject as fundamentally embodied whilst raising questions as to theclosure and integrity of the self. I wish to present the body not as a protective envelope that defines and unifies our limits, but as an organof physical and psychical interchange between bodies- a kind of inter-subjectivity that produces identity. In my work the body is presented as unstable, ambiguous, fluid, and constantly in flux. I am hoping to highlight how our experience of the body is always already mediated by our continual interactions with other human and non-human bodies. To draw attention to the invisible forces of culture and psychology that shape and reshape the body.

Photography is a particularly appropriate medium for my purposes given its historical associations and recent digital transformation. Photography once appeared to provide us with causally generated ‘truthful’ records of things in the world. In the digital age this definition of photography has collapsed, yet the belief in the photograph as a faithful record of reality stubbornly persists. I’m interested in exploiting this discrepancy to interrogate conceptions of identity and to challenge photography’s supposed indexical correspondence to the world.

Taken from several points of view, composed of multiple shots, compressing several instances into a single frame, they are compositions of unified fragments. The images are constructed in a manner closer to the manual labour of painting.

Ultimately I’m interested in the synthesis of a variety of apparently contradictory dichotomies: mind and body, nature and culture, inside and outside, painting and photography, fiction and reality, and I try to collapse these distinctions into each other.

David was born in Northampton, England in 1954. He completed his foundation year there, but dropped out of a diploma course at Liverpool in a search of a more meaningful alternative. It was 12 years before he would return to any kind of painting.

After travelling around Europe he went on to work and study in Japan. On returning to England in 1985 he freelanced as an illustrator and visualiser, but continued to draw and paint in his spare time. After being short-listed for the BP Portrait Award (then sponsored by John Player) commissioned portraits and paintings of the figure gradually took the place of illustration.

Since becoming a full-time painter, he has carried out commissions for a wide variety of institutions, and has had several solo exhibitions, the most recent with Messum's in London. He is working towards more solo exhibitions, and also on a number of public and private commissions.

My artistic considerations have concentrated upon exploring wood as a material and upon understanding its structure and its core. The question, to which extent it is legitimate to influence the material by means of intervention without interfering with its identity, has accompanied my work and will continue to accompany my work.

As an abstract artist Van Renselar is more concerned with form and colour as an alternative to subject matter. It is not his aim to represent our surroundings or any particular object, he takes ideas from experiences which are visual, cerebral and emotional in nature. His inspiration can as easily be sparked by lines from a song as by an emotional event.

Across the range of pictures there is no defining key of symbols - there is no ‘language’ for the viewer to learn, each picture establishes itself on its own visual merits and the viewer’s interest.

He says, "I want to use my knowledge of colour, shape and line to make pictures which involve and intrigue the viewer. I take ideas from around and within me, using intuition and imagination to create a new context. Much of my work stems from my subconscious, where I see actions, events and ideas as particular shapes and colours. It took me a long time to fully realise that not everyone translated the world in this way.”

Van Renselar grew up in South Wales and London, where he now lives and works.

Born in France, Vincent Moya's introduction to the arts began at an early age under the tutelage of his father, Jean-Paul Moya, a prominent painter in the French Riviera. His education in the field formally started when he attended L'Ecole d'Art Plastique in Nice, and has since moved on to pursuing a degree in Fine Art at the University College for the Creative Arts in Kent, England and at La Universidad Politecnica de Valencia, in Spain. To date, his work has been exhibited in the UK, France, and Spain. More recently, Moya’s work has also reached Asia, where he successfully held back-to-back exhibitions in Manila to a well-receiving audience.

His work is a hybrid of drawing and print-making. The visible effects are created through the superimposition of several layers of a particular drawing with varying tones and colours, arranged specifically to enhance the movement in the picture and the vibration of the lines. Inspired by the work of Cartier Bresson and Roland Barthes' theories on photography, Moya considers his drawings to be representations of moments rather than objects, landscapes, or people. He seeks to imbue his work with a certain filmic quality, in capturing fleeting moments and arrested relationships. More than simply depicting a moment, he seeks to create a non-static image to give it an increased sense of imminence. This feeling of urgency, created by an optical illusion, makes the picture complex, disturbing, and disorienting.