Linnea Jensen works mainly with oil on canvas, and mixes media on paper such as watercolor, charcoal, pastels and prints (woodcuts and drypoint). Her images are figurative and autobiographical. The images carry a poetic touch, a sense of melancholic wonder, interwoven with reflections on more philosophical and universal questions about life, death, loneliness, longing, timelessness and transience. The images are multifaceted, but mainly revolve around the female experience, and you can sense an underlying criticism of what has brought us to the time and world we find ourselves in today.
Linnea draws much of her inspiration from modernism, from artists such as Munch, Bonnard and Gauguin, however, she is also influenced by the postmodern period.

The Danish island Bornholm is where Linnea Jensen has her base but the work and exhibition practice is extended to not only include Denmark, but Sweden and New York as well. She has participated in exhibitions at, among others, the Bornholm Art Museum, James Cohan Gallery in New York and Steinsland Berliner Gallery in Stockholm (which is a regular exhibitor at CHART Artfair). In addition, she has had museum sales for the Bornholm Art Museum and to a number of private collectors and art associations.

Caroline H. Thon is a Copenhagen-based visual artist whose practice centers on oilpainting and large-scale public art projects. Her work investigates the interwoven relationships between the body, consciousness, spirituality, and the natural world. In recent years, she has focused on existential experiences related to neurological trauma, with particular focus on the role of plants in healing processes. Through experimental approaches to painting, she reflects the layered complexity of these themes.

With an academic background in biology and art history (MSc) and curatorial experience in art–science exhibitions, she brings a cross-disciplinary perspective to her work. Grounded in an ecological worldview, her art is shaped by emerging scientific insights into the deep interconnections between humans and other species—and how these discoveries transform our understanding of reality.

Thon has completed large-scale public art projects in France, Chile, and Denmark. Her work has been exhibited in Leipzig, Limassol, Shanghai, Berlin, and in major cities across Denmark.

"I am a painter, and my love for the act of painting is central to my practice. I strive to create images and spaces that expand the world and make it feel a little less lonely.

In my recent solo exhibition "In the Light of, In the Shadow of" (Arden Asbæk Gallery), I explored the relationship between a human and a tree as a reflective space for themes such as trauma, time, loneliness, healing, and interconnectedness. The exhibition was grounded in both theoretical sources—including the writings of Emanuele Coccia and Peter Wohlleben—and personal experience. The works were created on semi-transparent canvases stretched in multiple layers, producing moiré patterns that mirror both the trembling state of traumatic being and the energetic interference of the world itself.

This body of work builds on my ongoing umbrella project "Vital Signs," which I initiated in 2021. The project investigates and communicates existential experiences related to neurological trauma, with a particular focus on the role of plants in healing processes. Within this framework, I have created plant-based installations addressing our relationship to life’s fundamental biological rhythms and balances, as well as painterly series that explore shifts in perception and consciousness, and themes of rebirth.

I am currently working on a project titled "Small Wonders Under the Sun," which continues this trajectory through an expanded investigation of the concepts of life and hope. Drawing on vitalism and theories of consciousness, metaphysics, and quantum physics, the project asks what characterizes the living. In a dystopian era shaped by a new machine-driven revolution, the series questions what distinguishes life from the machine, and how everyday moments might illuminate what it means to be alive, to be human, and to find meaning in life."

Karin Fisslthaler is working in the fields of fine art, experimental film and sound/music. Her creative endeavors encompass a wide range of mediums, including videos, film works, collages, and installations. The artistic focus primarily revolves around the utilization of found footage, such as cinematic and (pop-)cultural artifacts, in order to explore the retroactive effect of media on notions of identity, communication, relationships, and the self.

In 2003, Karin Fisslthaler embarked on a music career under the pseudonym Cherry Sunkist. This solo project merges experimental electronic pop music with various styles and musical elements. Cherry Sunkist has released two solo albums, an EP, and has performed at concerts throughout Austria and Europe. Karin Fisslthaler‘s artistic works have been showcased at prestigious international film festivals, museums, galleries, and exhibitions. Some notable venues include Transmediale Berlin, the Ann Arbor Film Festival in Michigan, the Copenhagen Short Film Festival, Kunsthaus Vienna, LENTOS Art Museum Linz, Gallery of Photography Dublin, Fotohof Salzburg, and MAK – Museum of Applied Arts, Vienna. Her works are included in renowned collections such as the MOMA and Princeton Library (included in the artbook series „Moby Dick Filet“), The Committee for Visual Arts of the City of Copenhagen, and the Museum of Modern Art in Salzburg.

Julius Hofmann, born in 1983 (Göttingen, DE), studied at Academy of Fine Arts Leipzig (HGB). In his paintings, he works with a combination of both calculation and intuition, combined with a lot of routine and discipline, but generally it is highly process based. In his work process there is still a lot of change happening over time, so things transform in between. But, this fluid process is what keeps him going, and he believes without a playful adventurous approach, the outcome also isn’t that entertaining. Julius Hofmanns works are characterized by a melancholic mood which gets imprinted onto each painting, independent of the motif. He chooses the painted elements because he is fascinated by them, only being able to analyze them in hindsight. Setting the mood is mostly a vehicle, as he is more interested in the “how” than the “what”. For him, these sometimes morbid depictions are a form of managing his own (but universal) fears. While getting materialized in the brushwork, these inner threatening images loose their power, and instead one gains control over them. 

Recent solo exhibitions include “Path not taken” at Galerie Droste, Paris (2025); “This, killing emptiness” at Galerie Kleindienst, Leipzig (2023); “Western Philosophies” at Galerie Droste, Düsseldorf” (2023); “Purple Haze” at Plan X, Milan (2022).