She’s Peruvian, she creates camouflage self-portraits, she’s the amazing Cecilia Paredes.

Cameroon-born and based artist, Maxime Manga, has been experimenting with digital collage since 2016. His work manipulates classic photography and geometric shapes with vibrant colors that are reflective of his African culture. It’s this self-described ‘Afrofuturistic’ style that has enabled him to carve out a niche in a contemporary art form. Maxime Manga was born in  Yaoundé, Cameroon, in 1999 and continues to work from his hometown. One of the new generation of digital collage artists from Africa, Maxime first came to attention with his graphic design projects for Germany and the USA.  He completed his computer science degree in 2019. Maxime Manga started to explore digital collage as a new art form in 2016. The artist manipulates imagery sampled from disparate sources – fashion magazines, photography, traditional African arts, botanical images, etc. In a departure from the artist’s earlier collages with their highly critical, dark, and confrontational themes, there is a renewed optimism and positive energy inherent in this new body of work. Manga effortlessly captures the viewer through his boundless imagination and positive vision for the African continent.

Japanese Tattoo artist from Harizanmai Studio – Kyoto, Japan. He started in the fashion world, attending a fashion design school, but soon after that he changed his mind and entered the tattoo scene. Tattooing since 1998, Gakkin is a freehand tattooist, doing mostly blackwork. His style is Japanese traditional, graphic art, and recently he loves doing grayscale works.

An activist, feminist, and one of the most recognized outlaw artists in North America, MissMe’s unapologetic pieces command attention in sharp tones, exploring her own struggles with race, gender, society, and class while uplifting icons of the past. Her compelling, elegant, and sometimes unsettling large-scale wheatpastes swallow buildings whole, confronting issues of dignity ­and forcing us to reconsider our own truths. Rarely in any city for more than a few months at a time, the Artful Vandal has channeled the momentum of her art’s global success toward a new movement, passionately advocating for women as role models and pivotal members of their communities. Regularly asked to speak on radio shows, featured in magazines, on panels, and in conferences as the voice of new feminist activism, MissMe has also organized her ideas into workshops and teen programs. Spotlighted by Complex, HuffPo, Vice, TED, and countless others, MissMe’s message is resonating around the world as she continues to shine an illicit light of beauty on the stage and in the street.

“I wasn’t interested in tattoos. No, it is something else that caught my attention and fascination, as a watcher at first, and then, the main character of my own fate – mutations. The different hybrid status of a living being ; the composition and decomposition of the matter. Traces left by time, marks, prints, ruins. What is moving in the invisible, crawling in subterranean strata and sliding through interstices. Those are transparences, rays, diluted veins, skin, grain. Granular synthesis, fragmenting and spreading like a perfume in a spatial field mapped by our emotions. I don’t ask anybody to understand. I say : feel. Those are ghosts. Those are Shadows, hiding deep in the flesh, the ones we pretended to forget. Masks of distress. Of shame. I don’t tattoo. I don’t build up protections, I don’t create armours. I undress the skin. I make vulnerability even more vulnerable, making it melting in the eyes of a world too sad and too weak to give back its blast to the flame. I restore fragility to its letters of nobility. To madness. To chaos, with tenderness. I bring out to the surface what is already here, present and what is silent. I make speak an ancestral language which will resonate in the future. Totems. Sacred marks. Organic and electric impulses, revealers of the Essence, translation of codes and keys. No, I wasn’t really interested in tattoos. As a child, my heart was beating for Ashitaka’s curse in Mononoke Hime. This is my first epidermal love memory, and my only real ad vitam. His arm brushed by a dermograph-god, invaded by strange marks, progressing as a threat as a grandiose dream, which even awoke to take possession of his spirit. This is the word, ultimately. A Spirit. How to live with it, to evolve with it ? Later, I’ve been in grace with the cyber-human connectic of Ghost in the Shell, and with the transformation of Tetsuo’s arm in the arena of Akira. These scenes and visions found a point of deep resonance in my being, like the beginning of an answer (and upcoming reflexions, for some almost impalpable) to who I was, who I was going to be and what I was going to present artistically. No – what I was going to present humanly. As a deep human answer, but also as a divinity – in other words, dispossessed of its own name, of its history, of its desires and torments ; of its impulses, of sex, of gender – of everything what made me me, actually. Or at least, what I thought I was. A form between two phases, taking part of a much bigger mouvement that I could deploy by my own gesture – the gesture of Beauty. An idea in a shell. With a touch of fantasy, and trauma. I’ve been fed by blows, by the need of tearing off my skin like petals, by the flowers in my mother’s garden, by the wrinkles of her doom and by the blood she spilled, torn apart, crawling by night on the carpet of my bedroom. Just like Kaneda, I was caught in the guts by something almost non-human anymore, on the borders of the unreal, out of the depths of Earth. I’ve been in dementia, spoken with death, and came back with a fantastic creature, ready to take me back down with it, in meanders of the inter-world. Pretty young, I had the feeling of not being alone anymore in my ecstatic mutant incarnations, watching Matthew Barney’s Cremaster, where the emerging matter was finally taking on the life it deserved to have, where everything was in state of chronic instability, transfusion, transgender, infinite, decadent and majestic, grandiose. A phenomenon of enchantment of being oneself, disenchantment of facing consciousness and finally, transcendance. To disappear with poetry, celebrating the best and the worst of my being. Wrapped in leeches, caressed by forests, burnt by the city. Punished and judged for existing. The métamose, is the nuance that escapes metamorphosis. It’s the smirk of the flow, vanishing our questions, research, projects. It’s the missing form, the invisible that we decipher to remember that we are alive, that we are. That we always stand up straight and look into the eyes, deeply. As long as the metamorphosis is incomplete, the métamose operates. Infinite. It’s the extinction of the error, against the greatness of the present-experience. It’s the Other, in a mutual offering to finally forget – escape ourselves. It is the weight of our past which lightens, heavy pages of our failures and all our pride that fly away. A curtain of roots, that rises like an illusion, to let appear new lines and stains on the body. It’s the whisper of algae, pink, midnight blue and black larvae telling secrets you don’t need to repeat or even to prove to anyone. The métamose, is a child with wide open eyes, not dead inside yet. But it is also a declaration of war. A declaration of war against the world, against those who strike, pulverise, rape and freeze the human heart day after day. A declaration of war without any weapon, or the one of Beauty maybe. It’s a Fungi, a disease that spreads in the aseptic. That will make the offended scream loud, and keep the ones who understand in a silence of coton. It is an Insect, that vibrates for those who cannot live enough, and for those who live too hard. A fusion, precise and naive effusions, an effeuillage. It is a prayer to the living, a goddess in rebellion, rising like a powerful wave. These are the sufficient droplets that we will keep, paying homage to the memory of the skin, projected with the grace of Ikebana and the blood flowing with fury. A tissue, a translucent membrane beyond any form of technology. It is a new reign, drawn up in honour of those who will never give up, of the profound song of the living ; To disappear and reborn Until becoming our own Kings and own Queens.”

Ilya Brezinski is an incredible artist based in St Petersburg, Russia. His designs are minimal, graphic dotwork, clean and strong.

PichiAvo (Pichi, b. 1977; Avo, b. 1985) is a duo of artists from Valencia, Spain. Recognised for their skill at creating connections between painting and sculpture in urban settings, they adopt a thoroughly innovative approach in their artistic fusions. A balanced combination of classical art and the most contemporary urban art can be identified in their work. From the outset PichiAvo shunned artistic individuality, joining forces to create an absolutely unique body of work using a conceptually urban idiom, both in the street and studio. They trained in Fine Art and in Design and met on the graffiti art scene in Valencia, forming the PichiAvo duo in 2007. From that moment they worked on developing joint projects, pursuing an unremitting search for a style of their own. To achieve this they went through various stages as painters, focusing initially on skill and technique until they reached the point of needing to express themselves through what most defines them: graffiti and classical art. They work outside and inside the studio, in painting, sculpture and installation, embracing a wide and versatile range of material and painterly approaches. Since 2015 PichiAvo have carried out projects at some of the leading venues in international urban art, including the legendary Houston Bowery Wall in New York (2017), where theirs was the first painting intervention by European artists. In April 2019 they executed the second largest mural in the world in the city of Porto, in collaboration with the celebrated artist Vhils. In 2019 they created a monumental  26-metre-high sc u lpture  for the Fallas festival in Valencia and held their exhibition in El Carme centre.

Tania Font Creates Extraordinary Childlike Sculptures Palamós, Girona, 1978 Trained in several disciplines such as painting, drawing, engraving, sculpture and jewellery, Tania Font has worked on the scenography for many projects in theatre and television, as well as creating hyper-realist scientific sculptures for museums alongside the biologist Ramon López. Her own work as an artist, mainly sculpture and painting, is notable for the presence of the human figure, with special attention given to women. By seeking to explain subjective experiences, her work reflects upon the construction and deconstruction of the feminine subject, as well as the difficult relationship women have with the word: a long history of silences. “I speak out through my sculpture much better than with my voice. About isolation, about the noise caused by thoughts within a closed circuit of neuroatypical mental processes and how, sometimes, we can feel that they surpass us. This is the concept of the series “Deconstruction”, in which I am immersed. Internal thoughts that can make us break our heads. ”

Born in the Moscow region, near Sergiev Posad, in a family of artists. Tattooer since 2011, inspired by the 80s era of NYC. The portrait is the main genre of the artist.