Graphic designer and musician from Madrid living in New York.

Zagreb born, New York based creative with 15 years of experience in design and visual storytelling for variety of clients in arts/non-for-profit and commercial industries, as well as startups and small entrepreneurs. Major passions: nature, travel, food, communal meals.

YuJune Park is a Partner at Synoptic Office, an award-winning design consultancy that works globally with leading cultural, civic, and business organizations to communicate ideas, build experiences, and cultivate new audiences. With over a decade of experience in creative direction, graphic design, and digital strategy, she leads the studio's vision and practice, transforming data into knowledge for diverse clients and contexts. She is a tenured Associate Professor of Communication Design at Parsons School of Design, where she teaches and researches global scripts, archives, and the manifold ways design can unlock human stories and reveal connections through language and information. Park's work has been recognized by Fast Company Innovation by Design, the Webbys, Design Week, the Art Director's Club, and the American Institute of Graphic Arts. She speaks and exhibits internationally, most recently at the Biennial of Design in Ljubljana, the Ningbo Museum of Art in China, and at Palazzo Mora in collaboration with the European Cultural Centre and the Venice Biennale. In 2022, Park was selected for Creative Review's Creative Leaders list, which celebrates global leaders advancing their field.

NYC-based curator/writer.

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.