In her work Greet Billet investigates the relationship between analog and digital color reproduction. In this way she analyzes the connection between the objective and quantifiable digital reality of monochromes and their subjective perception and appreciation. This search results in a critical reflection on the structural impossibility of objectifying sensory perception processes. More fundamentally, however, this impossibility is situated on the level of communication itself: subjective experience is essentially incommunicable and the only objective reality is that of purely aesthetic and incommunicable experience.
In Arash Fakhim's practice, the will to collide with the imposed rules of the medium of painting. He therefore always tries to come up with 'paintings' with atypical materials and methods. For example, he took pictures of paint strokes that he applied to the 'canvas' as a sticker, and he worked on epoxy panels in which he compressed several layers of plastic bags. The lines and folds form painterly compositions but at the same time show the process that preceded it, the act in which the light plastic bag transforms into a solidified panel. Fakhim considers that action important, action and object.
The work is hybrid and multidisciplinary. Cléo Totti works from the sensitivity to a material. She borrows the concept of mutability and hybrid organism that could influence her pieces from the American philosopher Donna Haraway (Cyborg Manifesto) and she tries to integrate this view in her work. The representation of the body is a recurring occasion to express it. She stands up for the mutability of art and human species. There is something of a social position in the work. Being a woman or a man does not mean the same thing. They are states from which the codes determined by society arise. In her work she is interested in redefining the norms.