Patrick Hamilton studied art at the Universidad de Chile. His work is characterized by a political interest that promotes the return of the social burden that abstractionism and conceptual art had at their time. With clear references to the 20th-century avant-gardes, the artist develops critiques in which the economy of visual language allows him to be incisive and forceful with his ideas.

The works belonging to his series Abrasive Paintings, for instance, are made with black, red, yellow or white-colored sandpaper, with which the artist makes geometric patterns, almost always rectangular, alluding to bricks. A design that first appears innocuous hides an aggressive materiality, in a way that contrasts the “coldness” and simplicity of rational design with a strong emotional base. More widely, Hamilton seeks to make connections between these sorts of clashes and the contexts of the countries to which he holds personal links, be that Spain or Chile, referring to their social problems and their historical roots.

Thus, through distinct media, from painting to urban interventions, Hamilton centers his reflections on the analysis of social and political tensions.

He currently lives and works between Madrid, Spain, and Santiago, Chile.

Randolpho Lamonier is a visual artist graduated from the UFMG School of Fine Arts. His work is set between different media, with his practice in textile art, painting, video and installation taking center stage. In his research, word and image are always in dialogue and usually deal with micro and macro politics, chronicles, diaries and multiple intersections between memory and fiction.

His work is part of the permanent collections of the São Paulo Museum of Art, Denver Art Museum, Pinacoteca do Estado de São Paulo, Premio Pipa, Museu Casa das Onze Janelas and Prêmio Diário Contemporâneo de Fotografia. He has participated in several exhibitions, including “Spin a Yarn”, Another Space, New York, 2023; “Who Tells a Tale Adds a Tail”, Denver Art Museum, Denver, 2022; “Brazilian Stories”, MASP, São Paulo, 2022; ”I like South America and South America likes Me”, Belmacz Gallery, London, 2021; “On The Shoulders of Giants”, Galeria Nara Roesler, New York, 2021; “AGAINST, AGAIN: Art Under Attack in Brazil”, John Jay College of Criminal Justice, New York, 2020; “15th Lyon Biennale – Jeune Création Internationale”, Institut d’Art Contemporain, Villeurbanne, 2019; “36th Panorama of Brazilian Art: Sertão”, MAM, São Paulo, 2019; “What I really want to tell you...”, Fundación Pablo Atchugarry, Miami, 2019; “Education through Stone”, Joaquim Nabuco Foundation, Recife, 2019; “Art Democracy Utopia, Those who don’t fight are dead”, MAR, Rio de Janeiro, 2018; “MITOMOTIM”, Galpão Videobrasil, São Paulo, 2018; “Videoformes International Digital Arts Festival”, Clermont-Ferrand, 2016 and the solo exhibition “My kind of dirty”, Fort Gansevoort Gallery, New York, 2021; “Megazord codenamed Esperança”, Miter Galeria, São Paulo, 2021; “It’s late and it’s raining, but rats are not afraid of the dark”, Zipper Galeria, São Paulo, 2018 and “Vigília”, Palácio das Artes, Belo Horizonte, 2017.

In 2020 Randolpho was one of the winners of the Pipa Prize. He lives and works in São Paulo.

Diego Pérez’s multidisciplinary practice continuously plays with the idea of the border, be they the limits that divide art from other sorts of objects, those that divide art from the wider public, or those that separate contemplation from experimentation. The artist articulates a sculptural imagination in which every material is an endless source of forms whose relationships do not end in the work, but extend to the environment and the viewer.

Beginning his career in the field of photography, Pérez has oriented his work towards the public life of objects, fomenting, not without a degree of humor and an affinity for fantasy, an inquiry about social relationships that give works meaning. It is in everyday life where a chair becomes a shelf, or where a box transforms into a plant pot; the art-life border is constituted and dissolved in the conjunction of public space, work and spectator.

For Pérez, it is important to let imagination and daydreaming flow, because that is where the contact between apparently separate fields is produced between artist and artisan, connoisseur, casual observer and so on.
He currently lives and works in Mexico City.

Lisa Sanditz’s mastery of paint and its materiality - especially when realized for expressive purposes - is clear in works emphasizing human cognition, emotion and the power of looking. Much of Sanditz’s work explores questions of how landscape, ecology, consumerism, and American identity collide in our increasingly fractured society. With dramatic colors, landscapes come alive and morph under the weight of consumer culture and industrialism--yellow mountains are obstructed by the parking lot of a casino, a barge cuts through a dark river in the dead of night. Sanditz lives and works in Upstate New York, an area with long art historical roots, mostly famous for the Hudson River school paintings, which offered a pastoral view of the natural landscape, often infused with a pervasive sentiment of Manifest Destiny. Sanditz’s work rebels against this colonial lineage, while simultaneously finding deep inspiration in the same lush landscapes—which have become littered with fast food chains, dollar stores and highways. It is human interaction with, and often overuse of, the natural world that captivates Sanditz and drives her work.

Lisa Sanditz (b. 1973, St. Louis, MO) received her BA degree from Macalester College (St. Paul, MN) and her MFA from the Pratt Institute (Brooklyn, NY). In April 2024.