Karine Bartoli draws her subjects from photographs taken during her own shoots, capturing interactions between figures in sunlit settings. She reinterprets these images in oil on canvas, cropping and refining them through a personal sense of color and composition.

Daphne Klagkou (1996, Thessaloniki, Greece) is a multidisciplinary visual artist with a primary focus on ceramics and glass sculpture. She completed her integrated master’s degree in Fine Arts at Athens School of Fine Arts in 2021

Stefan Stoikov is a Ukrainian artist of Bulgarian and Georgian descent. He currently lives and works in Odesa, Ukraine. In his artistic practice, Stefan explores echoes of motifs from different eras, often reimagined through anachronistic costumes and settings.

Kateryna is the person behind Subjektiv. She came to art from a decade in international finance and a year working on healthcare reform in Ukraine. She built Subjektiv around one idea: we need to train our aesthetic lens to build a better world.

We have to admit, there is a visceral magnetism to the macabre. While pastoral landscapes and floral still-lifes certainly offer comfort, paintings of hell offer something our team finds far more compelling: drama, complexity, and an unflinching look at the human condition.

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Let’s be honest for a second. The world is loud. Your phone is buzzing, the news is chaotic, and your schedule is packed. Is it any wonder that when we come home, we’re desperate for something that just makes sense?

I’m three feet from a canvas that seems to breathe. The color doesn’t sit—it quivers. The waterline wobbles as if the room had a breeze of its own.

What makes it so special is that, even though it’s abstract, it feels like a complete story. Not just separate strokes or elements, but a whole, living composition.

This diptych makes my living room feel lived in and inhabited, leaving room for meditation and change in one’s mind.

October isn’t a genre. It’s a mood-foggy at the edges, oddly funny. Painters have been mining that mood for centuries.

The room is dim. A clarinet calls from the curb. On Seurat’s stage, the act hasn’t started—yet the mask is already doing its work.