Hybrid creations, between the artistic and the commercial, focus on urban art, pop culture, and classic cartoons, wish to give life to a style of its own. Coté Escrivá succeeds in attracting and impacting people visually, sometimes with a feeling of disconcerting familiarity. He has worked with various brands such as Audi, Amstel, Porcelanosa, Reebok, and Nestle. His work has been exhibited in cities such as London, Barcelona, Los Angeles, and Singapore.

Dulk is a versatile artist. He has a wide range of work—urban art, drawing, painting, sculpture… Each medium is also a challenge for him yet he resolutely undertakes it and sees it as pleasure. His art has evolved over the past few years remarkably, but its essence has remained the same. His naturalistic work illustrates a tragi-comic and surrealistic landscape, the details of his work always draw his audience to dive into his imagination. His composition often uses the soft chromatic palette, its visualization brings forth a sense of beauty and calmness. Dulk loves to display an oneiric narrative through his characters, hopefully, lead us to unveil its deeper meaning through following observations.

Emilio has a long career trajectory as a freelance art director and visual artist. Since 1999, he has worked with well-known international companies like Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans, and The North Face, etc. (among others specializing in motion graphics and multimedia content). Drawn to the fascination of plastic, he started the Secret Lapo Laboratories, a space for plastic experimentation, where he can express the capacity of his artistic restlessness, away from bits, clicks, databases, and scripts. Stems from his desire to create a form with his own hands, the Jumping Brain viral was born. This was his first independent project, the Jumping Brain has become an overnight sensation.

Kenz draws his inspiration from the human state of mind, memories, and the tension between consciousness and unconsciousness. He is interested in exploring the concept of nostalgia and innocent childhood memories through the depiction of his own personal objects from early life such as rubber bath ducks and walking push toys. His work focuses on the relationship between humans and objects that have the ability to bring back strong visual memories. This is executed through his signature style of soft tones and artificial color palette coupled with bold, round line work and shapes.

Tam Mei Yi, Amy, was born and raised in Hong Kong, with a course in BA Visual Communication. She worked as an art director in a leading shopper marketing agency before starting her career as a full-time artist in 2018. Her works are not just about nature and human beings but also the sound of nature in Lamma Island where she is staying at the moment. With her background in art therapy, her works are healing and heartwarming. Amy moved to Lamma Island after her ceramic and wooden craft learning trip in Taiwan. She adopted a dog and named her MugMug. Mugmug is her companion in all her nature trips. The Girl in Mountain is an iconic character got Amy as it symbolizes her daily life. Nature is her inspiration in all her works.

MITO received training from the Slade School of Fine Arts, University College London, and completed the Bachelor of Arts at the University of Hong Kong; after he began working with clients that span a wide gamut of industries, he acquired many experiences as a graphic artist. Today, he serves a host of international clients as an Art Director, these experiences granted him greater insight into design beyond color, texture, balance, and other key aesthetic components, but its essence in the form of communication with inherent emotions as a relational instrument.

Inspiration and creativity can be difficult to describe, it is an ephemeral flow of consciousness often best left uninterrupted... unquestioned. Whether it be a sketch,a small figurine, or nature itself - I allow my external influences to organically manifest themselves in my work. Having always been interested in found objects, I’ve naturally been attracted to using recycled cardboard. It’s widely available and very often discarded. The use of cardboard in my work is intended to echo the notions of the impermanence and fragility of nature. The way in which a collector will care for the artwork should be the same in which we all care for the life it represents.