Stand at the landing, and the wall becomes weather: Rows of pillowy ovals marching to a thin blue horizon. It’s Georgia O’Keeffe’s Sky Above Clouds IV

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.

Gaspar was only two months old when “A Woman’s Home” came into his life. Maria R Saunders’ painting, a 30x30 cm square, found its place on the wall and remained there as this little one was beginning to focus his eyes on the world around him. 

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.

Martîm was born in Funchal and raised in Coimbra. On paper, he is also a mechanical engineer, but at heart, an artist. He holds a master in Painting from the Faculty of Fine Arts in Lisbon and a postgraduate in Theatre and Performance from the London International School of Performing Arts.

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.

Japan’s studios buzz—ink, pixels, welded steel, algorithms. A postwar avant-garde tradition mixes with post-internet fluency, and the product is at once ceremonial and neon-slick.

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Sara Gonçalves is a painter whose works evoke a sense of familiarity through an ethereal lens on everyday objects, scenarios, interactions, and ways of living. She creates dynamic, emotionally charged compositions with bold expressiveness, blending technical precision and creative freedom.

Born in 1982 in Severodonetsk, Ukraine, Oleksandr Topchyi is a contemporary painter based in Kyiv. He graduated from the National Academy of Fine Arts and Architecture in Kyiv, where he now lives and works.

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