Erró
I paint because painting is a private Utopia, Erró writes of his art.
 The landscapes in Erró’s work are a constantly changing kaleidoscope of images, multivalent and mysterious, not infrequently controversial, bursting with life - and titillating, too! There is room in his pictures for both paradise and visions of fear.
 Erró is the alias of Gudmundur Gudmundsson, born on 19 July 1932 in Olafsvik, in Iceland. He was accepted into art school in Reykjavik as a 19-year old, subsequently complementing what he had learned there with further studies in Oslo, Florence and at the School of Byzantine Mosaic Art in Ravenna in 1955.
 It was around this time that he began to exhibit his works, first and foremost in Paris, where he chose to make his home in 1958.
 Erró’s pictorial world is peopled by comic-strip characters and autocratic despots alike. With a provocative spirit he exposes leaders whose propaganda machines advocate dictatorship, conformity and uniformity; Adolf Hitler, Saddam Hussein and Mao Zedong in contrast to Walt Disney creations juxtaposed with Greek gods and madonnas. In others of his series of pictures he allows veiled Oriental women to expose their own breasts. Weapons, violence and sexuality are mainstays among his motifs. Pastiches of Picasso, Léger and Dalí have also become something of a hallmark for Erró, as he deploys a potpourri of styles and pictorial languages with wilful abandon.
 Over the years Erró has taken part in hundreds of exhibitions and today his works are on show in museums all over the world, including the Centre Pompidou in Paris. In the summer of 2001 a museum was inaugurated in Reykjavik dedicated to Erró.  

Philippe Huart
Philippe Huart lives and works in Paris. He was born in 1953 in Clamart, France. After several years of art and graphic studies he worked as an illustrator and graphic artist for magazines and record sleeves. At the same time he also painted, and since 1983 his paintings have been shown in a number of group exhibitions. In 1991 he decided to devote himself full-time to his artistic calling. Since then he has held many one-man shows and participated in group exhibitions, both in France and abroad.
 Huart wants to show the effect that marketing and consumption have on our subconscious. His painting is based on objective reality, trying to demonstrate that there is nothing else except what is visible. To this end, he prefers to focus on forms and rhythms, rather than establishing any primary relationship to the object at hand.
 Philippe Huart’s painting is precise and explicit in a world where the image has become a fundamental means of communication. Indeed, icons and images provide the very inspiration for the process of expression that takes place in his mind.
 His art does not deal with objects from our everyday lives, but with their characteristic signs. These signs have become omnipresent in the world around us, both at home and in public spaces – so much so that we now barely notice them within their context. However, while the accumulation and frequency of these signs render them banal in their ordinariness, when enlarged fragments of them are placed side by side or superimposed one on top of the other, they become perceived as new – despite their commonplace familiarity.
 Through his work and his choice of subjects, Philippe Huart shows us our relationship to the objects which surround us. Even so, his painting is far from neutral in its standpoint. They also express the artist’s reflections on our world and our culture – a testimony of our daily life.

MariaManuela
MariaManuela’s pictures define the contrasts between the culture of the Far East and the western world’s pop-culture at the same time as they bring the two forms together.
 MariaManuela Vintilescu was born in Stockholm in 1959. During her childhood she learns to appreciate the short haiku poems that her father, Jan Vintilescu, rendered into Swedish. She also discovers the closed world of Japanese woodcuts in a book given to her by her mother’s aunt. After graduating from the Ecole Française in Stockholm, MariaManuela took courses in painting, drawing and advertising. After ten years as a scene painter in the theatre, she turned to her own art. Her Pop Icons appeared for the first time in 1998. Two years later her Flower Year suite was exhibited in the Stockholm Spring Show at Liljevalch’s Gallery. Since then her Pop Icons have been showed in several art galleries and Art Centers in Europe and Japan.
 Frequently preparing her motifs by first sketching them in pastels or wax crayons, MariaManuela strives to achieve efficiency in her artistic expression. Transferring her attention to the prepared linen canvas, her sure hand liberates the line within the space of a single breath. This dialogue with the emptiness of the canvas sets in motion a process of cross fertilisation between the idiom of her materials and the language of aesthetics. The layers of vinyl are laid on with the utmost care, one on top of the other, until a surface of perfect smoothness is achieved, producing a combination of colours that are lustrous and rich in contrast at the same time as they co-exist in perfect harmony. 
 MariaManuela tells a story that expresses a femininity in which ancient culture is turned on its head by western modernity. She creates a dialogue between woodcuts and today’s manga comic strip techniques, between kimono and mini-skirt. The complexity of this polarisation produces a feministic mix that she finds appealing and highly appropriate for her cause.

William Sweetlove
William Sweetlove, born in Ostende in Belgium in 1949 is a post modern artist questioning actual ideas about art and culture. 
Since 2002 he is a member of the art collective The Cracking Art Group who believes in the social impact of art. In their manifesto they plead for a new vision of the world, for a greater ecological conscience and for the creation of a new zest, as an antidote for a society of overproduction and overconsumption. The base material of their art works is a sort of plastic, produced via a thermo chemical reaction (cracking) in a natural crude oil.
The works of William Sweetlove prove a unique sense of imagination and reflect  a humoristic reaction against the omnipresent petty bourgeoisie. His paintings, sculptures and assemblages are his impressions of existence reproduced in materials such as polyester, animal hides and textiles.
William Sweetlove shapes his own world. The paradox, irony and the duality between natural/artificial play an important role in his creation process. Sweetlove thrives on the superficial, placing it in razor-sharp contrast to the sententious. Through a number of variations on the same theme he creates friction between the artificial and the substantial. In his world poodles, giraffes and penguins are rendered into artefacts which unite dadaism, surrealism and pop art in a common post-modernistic synthesis.  
The works by William Sweetlove have been showed in art fairs, galleries and museums all over the world.