Monika K. Adler is an acclaimed photographer and avant-garde filmmaker known for her challenging and provocative photography and experimental films. Her works have been exhibited in hundreds of photography, video art, and film festivals, art museums, and galleries worldwide. Adler’s films and image-based works have been the subject of several academic studies and published in many magazines and publications. She lives and works in London, United Kingdom.

London based director and choreographer collaborating with many artists and companies including Es Devlin, Brisbane Festival, NDT and Punchdrunk. Co-creator of award winning immersive work Sleep No More. 

Allyson Rousseau is a Fibre Artist and Designer based out of Montréal, Québec.

Marco Palmieri is an Italian-born Artist, Animator and Illustrator living in Melbourne Australia. Over the past 20 years he’s created numerous animated TV commercials and music videos, Illustrated for major advertising campaigns and created visuals for award winning iphone games. Marco has worked with world renowned animation studios Animal Logic, Iloura, Method and XYZ Studios. His artwork has been exhibited in various art shows in Melbourne and also covers the walls of one of Melbourne's iconic bars, The George Basement.

Chris Ballantyne’s work focuses on vernacular architecture and observation of the American landscape.  Banal features of suburban and industrial zones are sources for paintings that highlight the quirky and absurd.  Ballantyne states that, “Growing up in a military family and moving to different parts of the country, there was a certain familiarity to the kinds of houses and neighborhoods. They were a series of suburban developments built in separate regions of the country, always on the outskirts of larger cities, at the exit ramps of interstate highways, and all very similar in age and design.  My own notions of space developed out of this cultural landscape which was striving for an indidvidual sense of personal space,  consciously economic, and somewhere between urban and rural.” Dysfunctional structures are flawless in their strangeness, made beautiful through symmetry, simplified lines and flat, subdued colors. Ballantyne eliminates detail to emphasize the subtleties of the way we experience space and our attempts at containment. He extends these concepts further by expanding the imagery of his paintings beyond the picture plane and onto the surrounding walls. “Most of my works involve combinations of various places, drawn from memory. As well, my own interests in skateboarding and surfing altered how I saw  the use of these structures ranging from empty pools, sidewalk curbs, to ocean jetties in a way that tied in to my sense of this larger push and pull between culture and nature.” With shrewd restraint, Ballantyne accentuates the antisocial effects of our built environment with a hint of humor and plenty of ambiguity. A curious emptiness permeates the work of Chris Ballantyne. Graphically rendered buildings, pools, parking lots, and fences take on new meanings and amplified significance, isolated on flat fields of color.