The painterly medium is uniquely suited to establishing a state of serenity, standstill, and contemplation. Deenesh Ghyczy (1970, Diepholz/Germany) leads us into a world where habitual principals of thought and argument become meaningless. His figures stand beyond the cause-and-effect of everyday life; some are shown levitating, others in a state of complete inwardness. Streams of consciousness appear to be channeled and frozen in the recurrent motif of fragmented, disintegrating figures. © Uwe Goldenstein

Anthony Garratt was born in Sevenoaks, Kent. He studied at Chelsea College of Art and then Falmouth College of Arts for a design degree. Having worked as a designer for a few years in London, he was able to take up painting full time after a couple of successful shows. He now works from and is a director of the Jamaica Street Studios in Bristol. Anthony is predominantly a painter of the British landscape, his work concerned with the weather, an experience and impact of a landscape. His research time is spent in heavy weather, in remote locations and places that have an emotional impact. Inspiration comes from the British landscape and ever-changing climate. Anthony is an artist member of the Royal West of England Academy where he has regularly exhibited. He has also shown work at the Royal Academy summer exhibition and the Royal College of Arts Henry Moore Gallery having featured on a recent BBC2 art series. © Thackeray Gallery

Eckehard Fuchs’ (1975, Alzenau/Germany) art does not seem to fit into familiar categories and to stand aside of current trends in painting. On the basis of an objective representation he creates a visual cosmos steeped in suggestive gestures and complex symbols.
The essential elements of his artistic attitude, as well as the basis of his themes and pictorial worlds, can be traced back to the period of his master’s studies. Since then the search for representations of disrupted communication and warped human behaviourial modes has been at the centre of Eckehard Fuchs’ interest – initially in the form of an artistic coming to terms with his own individual perception of reality. Works dating from this time show pictorial narratives communicated by way of figurative representations, whose spatial construction and lively colourfulness initially displayed comic-like visual traits. © Susanne Altmann

Matko Vekic‘s (1970, Zagreb/Croatia) artistic strategy involves a wide range of traditional painting devices and witty formal gimmicks, even as engaging the other media in a meaningful dialogue. His interest has always been primarily in the structure of the chosen model, and he mostly works in large formats using a subdued palette, his manner displaying certain features of informel art, and using the roller, the spatual and stencils, as well as the brush. The propensity for foregrounding, reconciling, and interpretation of opposites has repeatedly been singled out as the defining trait of Vekic’s work. There is an ongoing dialogue of concrete and abstract in his oeuvre, with the motifs, taken from nature and the city alike, interlinking in often extraordinary ways. © Petar Prelog