Anna Kunz was born in Chicago, Illinois, where she continues to live and work. After receiving her BFA from the Art Institute of Chicago, Kunz went on to complete her MFA at Northwestern University, eventually attending the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Her works on paper, paintings, installations, and other compositions have been exhibited in San Francisco, Los Angeles, Chicago, Dallas, New York, Madrid, and Poland. Kunz's work has also been included in numerous public and private collections.

Kunz is the recipient of multiple awards and accolades, including nominations from 3Arts, Louis Comfort Tiffany Foundation, Richard H. Driehaus Foundation, Emerging Artist award from the National Museum of Women in the Arts, Artadia Chicago, Rema Hort-Mann Foundation's Individual Artists Grant, and The Joan Mitchell Foundation in 2020. She has been awarded numerous artist residencies, including the Golden Family Foundation Residency, Edward Albee Foundation Residency, the Space Program at Marie Sharpe Walsh Foundation, the Roger Brown Artist Residency, and, most recently, the Monira Foundation Residency.

Jessica Drenk originally from Montana has an MFA in 3D art from the University of Arizona and a Bachelor’s Degree in Art from Pomona College. Drenks work can be found in private collections throughout the world and galleries across the United States.  Her work is a part of several corporate collections, such as that of Fidelity Investments, Frost Bank corporate office collection, UTSW Clements collections , TCU’s School of Education and The Macallan distillery in Scotland, as well as the Yale University Art Gallery and Huntington Museum of Art.  Drenk has been the recipient of several awards, including International Sculpture Center’s Outstanding Student Achievement in Contemporary Sculpture Award, and her work has been pictured in Sculpture, Curve and Interior Design magazines, as well as The Workshop Guide to Ceramics. A working artist since 2007, Drenk lives and works near Rochester, NY.

Stephen D’Onofrio is a contemporary visual artist focused on painting. He received his BFA and MFA from The School of The Art Institute of Chicago in 2013 and 2016, respectively. In 2018, D’Onofrio was a finalist for the prestigious Hopper Prize. He has exhibited extensively in venues across the country, including galleries in Dallas, Boston, Los Angeles, Chicago, and Philadelphia. His work can be found in numerous private and public collections including Fidelity Investments, Estée Lauder, and the Clements Collection at UT Southwestern Medical Center, Dallas. D’Onofrio has lived and worked in Philadelphia since being awarded an artist residency in the city at Jasper Studios in 2017. His work is represented in the United States by Galleri Urbane, Dallas. 

The artist’s thematic image-making is broadly characterized by an interest in the home decor market, the mass commodification of art, and the generic visual language that accompanies commercial design. His paintings explore the relationship between physical spaces and the objects we fill them with. Often alluding to typical domestic decor and household ornaments, his canvases make these inherently empty objects into simplified symbols and patterns that can then be rearranged and compressed to carry a formal sensibility. The “Produce(d) Paintings” series serves as an historic exemplar of still-life painting that is as old as the medium itself.

Currently, D’Onofrio addresses the idea of painting as ornament, incorporating stock subjects of landscape, still life, and portraiture becoming knickknacks into his lexicon. The painter distills, consolidates, and appropriates the overwhelming amount of generic design aesthetic in the commercial decor market. Rather than fight the inherent kitschiness of this visual language, he embraces the imagery so his canvases can, in turn, become a critique of the subject it represents.

Bertrand Fournier’s practice explores a playful tension between abstraction and suggestion. His work reduces forms to essential, almost childlike geometries, allowing color and line to carry symbolic and emotional weight. Fournier moves freely across series to avoid constraint, cultivating a visual language that is both immediate and enigmatic. Bold, flat colour fields and irregular shapes coexist in fragile harmony. In this liminal space, his compositions become landscapes of thought: simple in appearance yet rich in coded meaning.

Bertrand Fournier lives and works in Paris. A self-taught artist, he began painting in his early thirties, developing his distinctive vocabulary of symbolic geometry with remarkable immediacy. Fournier has exhibited widely across Europe, as well as in the US and Australia, with solo shows in galleries such as Sebastian Fath Contemporary (Mannheim) and Alzueta Gallery (Barcelona), among others. His work has also been presented in international fairs including Art Dubai, Zona Maco, Art Miami and Art Paris. His paintings are part of notable collections such the Reinhard Ernst Collection and the Museum Dhondt-Dhaenens Collection, marking his consolidated presence in key contemporary art contexts.

Marlon Wobst (Born 1980 in Wiesbaden) graduated as a painter and master student at Universität der Künste Berlin in 2011 with Professor Robert Lucander. In his body of work, which includes oil paintings, felt tapestries, ceramics, and works on paper; he mainly addresses the human existence. He researches typical everyday moments in life, such as getting dressed, exercising, eating, resting or mating. His large scale paintings, the colorful felt works and rather small, intimate ceramics are all glimpses in his, but also human experiences, rituals and habits. His works are shown internationally in galleries, museums and institutions such as Kunstverein Siegen (Siegen), Kunsthal Charlottenborg (Copenhagen), Kunsthalle Hangelar (Sankt Augustin), Galerie Maria Lund (Paris), Galerie Zeller van Almsick (Vienna), and Galleri Urbane (Dallas). Since 2021, Marlon Wobst has a lectureship for painting at the Universität der Künste Berlin.

Substituting traditional canvas for thin, stretchable spandex, the works call to mind form-fitting attributes of yoga pants or a swimsuit. Hidden behind the painted stretched fabric, each painting conceals spherical objects that bulge beyond the confines of the rectangular frame. Painted in vivid tones of orange and pink, or a nude that more directly alludes to a human figure, viewers are enticed to imagine what remains concealed. Tightly arranged, each work’s protrusions extend to its neighbor and seemingly reach for physical contact but ultimately never overstep that boundary. Each painting creates moments of tension through its invitation to imagine what lies hidden underneath the delicate surface and through its suggestive physical orientation, all the while maintaining its own unwavering agency.

Living and working in Los Angeles, Samantha McCurdy is a native of Philadelphia and graduated from the Maryland Institute College of Art in Baltimore. Her work has been included in gallery exhibitions in Philadelphia, Dallas, Los Angeles, Miami, Paris, and New York City. McCurdy recently presented a solo booth at Spring/Break Art Fair L.A premiering a performance piece and has participated in their 2023 showcase presenting new sculptures. She was selected by the Standard Hotel curatorial staff to create a site-specific installation located in their lobby. McCurdy has exhibited in group presentations at the Dallas Art Fair, Aspen Art Fair, Art New York, and Untitled, Miami. She has also exhibited four solo exhibitions at Galleri Urbane. In addition to her own practice, Samantha runs an art space and intellectual pavilion called That That, which she uses to collaborate and curate group and solo exhibitions with her peers.

My work begins in uncertainty — not with answers, but with questions I can only approach through making. I work in layers, physically and emotionally, letting gestures accumulate until something true emerges. The process is deeply personal but intentionally open, inviting the viewer to sense rather than decipher, to feel rather than read. Experimentation is a big part of my work. It is about identifying what sparks delight, joy, and excitement within me. Through this process, I uncover new possibilities that ignite a sense of wonder. Pushing boundaries, embracing unpredictability, and allowing materials to guide me are essential to my creative practice. Each experiment deepens my understanding of form, texture, and movement, keeping my work dynamic and alive. It is through this constant exploration that my artistic voice continues to evolve, shaped by curiosity and the thrill of discovery. There’s a constant negotiation between intention and instinct in my practice — I follow where the work leads, often arriving at places I couldn’t have imagined at the start. What I seek is a sense of presence — when a painting holds together in its own logic, when form, texture, and rhythm begin to resonate. Over time, I’ve come to trust this way of working: uncertain, immersive, and fully awake.

Martin Brouilletteis a French-Canadian artist based in New York and New Jersey. Known for his dynamic and expressive approach to abstraction, his work explores the interplay between drawing, painting, and digital media, pushing the boundaries of contemporary visual language. Originally from Montreal, Brouillette studied at the Université du Québec à Montréal. His artistic journey began with exhibitions in Montreal, Toronto, and Vancouver before leading him to the UK, where he spent twelve years living in London. There, he deepened his exploration of form, material, and movement, refining a distinctive style that merges traditional and digital techniques.

Beyond his artistic practice, Brouillette has been involved in humanitarian work, using art as a tool for healing and self-expression. His dedication to social causes led him to work with programs supporting orphaned and at risk children in South Africa, India, Myanmar, and Haiti. His experience in this field inspired him to develop an art curriculum designed to help children express themselves through creative play. After moving to London, he collaborated with Worldwide Orphans (WWO) to establish this program within their global initiatives. This engagement profoundly influenced his artistic practice, reintroducing a sense of playfulness and spontaneity into his paintings.

Now settled in New York, with a studio in Jersey City, Brouillette continues to evolve his practice, creating vibrant, layered compositions that challenge perception and evoke emotional resonance. His work has been exhibited internationally and is included in esteemed public and private collections.

Joseph Carway began his career as an artist working with, and on, the human form: tattooing folk inspired linework figures, blacked out geometries, and animals. Flash sheets filled with dancing figures, crying clowns, and childlike flowers became the inspiration for his fine arts work. That sense of utility found in tattooing also became prevalent in Carway’s first foray into fine arts; wood turned pencil holders, pegboards, keychains, and painted key hooks became expressive objects brought to life in their painted figuration.

From those objects came his intimate series of wide-ranging paintings. Men thrown from horses, elongated portraits and figures, running women, and scenes of flight through curtained windows adorn these plywood panels. The sense of tactility is heightened through the intentional weathering and scuffing these panels endure. Age is present, both in the physicality of these objects, but of their subject matter. Are they forgotten and recovered works from the 1900’s? or were they made yesterday? The beauty in Carway’s paintings emerges from their timeless and permanent presence.

Joseph Carway is an English artist creating functional and flitting paintings, straddling sculpture and fine art. His work is inspired by themes of solemnity and solace, timeless imagery and gentle narratives. Play is at its height within his shaped paintings, as wooden implements often emerge from their surface to use as keyrings, “storage containers,” towel holders, or seemingly for no specific reason. The viewer is left to wonder how they might approach and engage his objects. Carway handles these themes with an obligingly naive sincerity, resulting in small wooden pieces that Illustrate scenes of life, love, religion and a willing exploration of his psyche through scenes and symbols.

Carways rectangular paintings on board have that same sense of play, but this is seen through the linework, gesture, and gaze. His subjects explore the container, rather than break from it – as in the shaped panels. The subject matter is diverse as well, exploring more formal elements, such as weight, line, expression, movement, and action. The intentional weathering and varnishing creates a push and pull, into and from the pictorial plane; still exploring 3 dimensional space within a more traditional container.

Joseph Carway lives in Norwich, England, where he paints from his home in the Norfolk countryside, alongside his work as a tattooist. Carway’s first solo exhibition was in 2025 at Giant Runt, Fort Worth, Texas. His work has entered important collections in the United States and abroad during his emergence as a painter in 2025. Carway will exhibit with Galleri Urbane at Felix Fair, Los Angeles, February 25th - March 1st, 2026.