Author: Seraphina Calder

Vicky Tsalamata is based in Athens, Greece, and her print practice moves with a double vision: it looks backward into literature and moral allegory while staying locked onto the pressure points of the present. Her work circles around a familiar question—how people live together, and what they become inside systems that reward the wrong things. She borrows the wide-angle framing of Honoré de Balzac’s La Comédie Humaine, but she isn’t illustrating the book or dressing up in tribute. She’s using it as a lens: a way to scan society’s patterns, its performances, its quiet cruelties, and its daily bargains. What makes…

Born in Greensboro, North Carolina, in 1953, Vandorn Hinnant has built a long-running practice that moves easily between studio work and civic space. Early on, he was pulled toward art as both craft and way of thinking—something you can build with your hands, but also use to ask bigger questions. He earned a B.A. in Art Design from North Carolina A&T State University, then continued his training in sculpture at the University of North Carolina at Greensboro, a combination that grounded him in design structure while opening the door to form, weight, and scale. Over time, that foundation expanded into…

Sonja Kalb’s path into the art world weaves together structure, creativity, and a fearless embrace of change. Born in Stuttgart, Germany, she began in a place that might sound far from painting: textile and design engineering. That early training matters. It gave her a mind for systems—how parts relate, how materials behave, how precision can hold a form together. But what makes her practice feel alive is what she did next: she didn’t stay inside the safety of the technical world. She carried its discipline into a looser, more intuitive language, letting control and spontaneity share the same surface. In…

Haeley Kyong makes work that doesn’t ask you to “get it.” It asks you to feel it. Her practice is rooted in the idea that art can reach people before language does—before explanations, before categories, before the brain starts sorting everything into neat boxes. Kyong isn’t trying to build puzzles. She’s trying to build contact. The kind that hits you in the chest first, and only later becomes something you can describe. Born and raised in South Korea, Kyong carries that early sense of place with her, but she’s also shaped by years of living and studying in New York.…

Sylvia Nagy’s work lives where craft meets systems thinking—where an object can feel personal while still speaking in the language of technology, process, and global change. With training that spans industrial design and fine art, she brings a maker’s understanding of materials into a practice driven by curiosity and feeling. Nagy studied at Moholy-Nagy University of Art and Design in Budapest, earning an MFA in Silicet Industrial Technology and Art, an education that sharpened her attention to structure, fabrication, and how ideas become physical form. Over time, that technical base opened into ceramics as a more expansive vehicle for expression—especially…

Nicola Mastroserio isn’t chasing what’s fashionable. His studio isn’t a response to the market, and his choices don’t pivot around what might sell. Instead, his practice turns inward—toward questions that don’t move on a seasonal calendar. He treats art as a kind of inquiry: not a mirror for appearances, but a method for approaching what sits underneath them. What matters in his work is essence—how reality is built, how it’s felt, and how it might be understood beyond the surface of daily life. That inward focus gives his art a particular stance. It’s reflective without being distant, philosophical without becoming…

Eliora Bousquet, a French-listed abstract painter and illustrator, paints at the threshold between emotion and infinity. Born in Angoulême, France, in 1970, she began her artistic path in 2009—a late start that reads less like delay and more like arrival. Her practice is guided by intuition, wonder, and a steady fascination with the night sky’s quiet rhythm. Nature and cosmos sit side by side in her work, not as separate subjects, but as two ways of describing the same pulse: growth, drift, brightness, disappearance, return. Each canvas feels like a meeting point between heaven and earth, where color becomes language…

Kathryn Trotter’s paintings don’t whisper. They arrive with color, texture, and a sense of pleasure in the act of making. At first glance, the work can feel exuberant—animals framed by florals, patterned settings, and paint applied with real physical presence. But the longer you look, the more you notice the structure underneath the brightness. Trotter’s background helps explain why. She began with textiles and fashion design in Texas, training that teaches you to think in layers: pattern over pattern, surface over surface, detail held in balance with the whole. Later, in San Francisco, she explored trompe-l’oeil, an old technique built…

Local artist Oenone Hammersley relocated to Palm Beach Gardens in 2024, bringing with her a visually rich practice shaped by theatre design, travel, and a long-standing commitment to the natural world. Internationally recognized for mixed-media work that leans into bold color, layered texture, and luminous light, Hammersley is especially known for paintings that revolve around water—those shifting surfaces that can read as both invitation and warning. Her works have been shown in Palm Beach, New York, London, Paris, Washington D.C., and Miami, and are held in private and public collections. In Florida, the tropical gardens have become a new spark:…

Paul “Gilby” Gilbertson has spent a lifetime staying close to process—testing materials, watching what they do, and learning how to guide them without forcing them. In the early 1970s, he discovered a watercolor approach that would become closely tied to his work: using salt on wet pigment to create natural, crystalline textures. It wasn’t planned. It happened by chance, the way a lot of good techniques begin. But instead of treating it as a one-time trick, Gilbertson kept working with it, refining when to apply it, how much to use, and how it could support the mood of a painting.…