Tracey Emin’s 'I Fell in Love here' (2014) is a neon text artwork by the British contemporary artist Tracey Emin, known for her raw, confessional art that turns intensely personal emotions into public expression.

This piece features the handwritten phrase “I Fell in Love here” crafted in glowing neon tubes - a medium she has used since the 1990s to transform intimate feelings like love, desire, vulnerability, and longing into luminous, universal statements that resonate with viewers beyond her own life experiences.

Medium: Neon lights on steel support

Lea Kampff is a 25 year old trans non-binary Irish artist based between Kildare and Dublin. They completed a BA in Fine Art Painting at the National College of Art and Design. Their practice is a studio-based one that focuses on painting and image making, as well as writing.

Kampff has a focused yet explorative practice, one that throughout their studentship has led to being awarded a 7 month student residency in the Peer Studios in the RHA Gallery in 2022, where their practice expanded and began to involve collaboration but most importantly writing, after discovering that discussion and language is a vital part of artmaking for them. During this time period they took part in two group exhibitions, SHIFT in Unit 44, Kirkos and Mesh/Mogall in A4 Sounds, the latter of which they took on a curatorial role.

Their work balances outside of the literal and has personal connections to queer experience. The image-making and paintings flow between abstract landscape and self portraiture. The writing engagements then fight with and marry to the imagery, opening portals of beauty in the aporic existence of struggle and complex blends of the whole.

Their recent work in the final year of their BA has been towards the NCAD Works 2024 show, and their graduation showcase titled “Dysphorum” serves as culmination of their previous works, coalescing their multi-disciplinary approaches to artmaking. From which, “Quickened Breath of being Lost” was purchased by the OPW for the State Art Collection.

Medium: Oil on canvas

Tozer forms composite images of weeds and carves them into false walls. Made using a woodblock cutting tool, the edge of which brightens when sharpened, each vertical incision cuts into the birch ply.

In each mural, vertical lines evoke flickering instants – incandescent edges – that evoke the fleeting quality of life while also, and more literally, recording moments of artistic creation. By affording these plants a scale and treatment historically reserved for historical or mythical – that is to say, anthropocentric – themes, Tozer further questions dominant systems of human value. Weeds thrive at the edges of things, railway sidings, vacant plots, the scattered tracts of common land that remain after centuries of enclosure and privatisation. They speak of wildness, the release of trapped energy.

By placing weeds at the centre, Tozer’s work brings to mind Ralph Waldo Emerson’s adage that ‘a weed is a plant whose virtues have not yet been discovered.

Medium: Carved birch play, emulsion

Lea Kampff is a 25 year old trans non-binary Irish artist based between Kildare and Dublin. They completed a BA in Fine Art Painting at the National College of Art and Design. Their practice is a studio-based one that focuses on painting and image making, as well as writing.

Kampff has a focused yet explorative practice, one that throughout their studentship has led to being awarded a 7 month student residency in the Peer Studios in the RHA Gallery in 2022, where their practice expanded and began to involve collaboration but most importantly writing, after discovering that discussion and language is a vital part of artmaking for them. During this time period they took part in two group exhibitions, SHIFT in Unit 44, Kirkos and Mesh/Mogall in A4 Sounds, the latter of which they took on a curatorial role.

Their work balances outside of the literal and has personal connections to queer experience. The image-making and paintings flow between abstract landscape and self portraiture. The writing engagements then fight with and marry to the imagery, opening portals of beauty in the aporic existence of struggle and complex blends of the whole.

Their recent work in the final year of their BA has been towards the NCAD Works 2024 show, and their graduation showcase titled “Dysphorum” serves as culmination of their previous works, coalescing their multi-disciplinary approaches to artmaking. From which, “Quickened Breath of being Lost” was purchased by the OPW for the State Art Collection.

Medium: Oil on canvas

Tim Milen graduated with an MA in Fine Art with distinction from the University of Ulster (2011) having completed a BA Painting at the National Colege of Art & Design, Dublin (1999). His paintings explore themes of ecology, mythology and place. His most recent solo exhibition was ‘While your back was turned’ at Ards Arts Centre (2024). He has exhibited in numerous group and curated exhibitions across Ireland and UK, including ‘New Exits’ at The MAC Belfast (2023). Milen was also selected for consecutive BEEP Painting Biennials, Elysium Galery, Swansea (2020 & 2022). He has received several arts awards including Freelands Foundation Funding, the Hennessy Craig Scholarship, Royal Hibernian Academy, Dublin and numerous Arts Council of Northern Ireland Awards. His work is also included in several public art colections including the National Self-Portrait Colection of Ireland, Limerick University and the Arts Council NI. He is currently an artist board member at QSS Studios, Belfast.

Medium: Oil on carved wood

Kanta Kimura, a Japanese artist based in Berlin, marries traditional Japanese concepts with contemporary techniques. Bridging past and present, his sensitive and organic practice takes root in materiality, yet finds its way through pattern and texture to pastures ephemeral, and rich in cultural heritage.

His work, "Untitled, 2025," depicts natural form in all its glory. Boundless peaks take the viewer’s eyes through a landscape of possibility. Rich in texture, the work sets the scene for what is an exploration through the halls of the hotel. With both institutional and market recognition, Kanta paves the way for the reimagining of historical concepts through the ever-changing lens that is the contemporary landscape.

Cian Walker is a Dublin-based artist whose practice bridges abstract painting and urban visual culture, drawing on his long experience in graffiti and street art to create works in which colour, form and texture evoke both organic and architectural references through an ambiguous, speculative visual language that invites viewers to project their own interpretations onto the image.

Colm Mac Athlaoich is an Irish-born, Dublin-based contemporary artist whose practice spans painting, illustration and printmaking. Athlaoich’s 'Burgundy on Pink I' is a limited-edition print (edition of 20) made using carborundum, an intaglio printmaking process that gives rich, textured surfaces and deep colour fields. The work reflect Mac Athlaoich’s interest in abstraction, colour, materiality and the space between figuration and abstraction. 

Medium: Print on paper

Medium: Hand burned pyrography on Kizara wood paper 

Lea Kampff is a 25 year old trans non-binary Irish artist based between Kildare and Dublin. They completed a BA in Fine Art Painting at the National College of Art and Design. Their practice is a studio-based one that focuses on painting and image making, as well as writing.

Kampff has a focused yet explorative practice, one that throughout their studentship has led to being awarded a 7 month student residency in the Peer Studios in the RHA Gallery in 2022, where their practice expanded and began to involve collaboration but most importantly writing, after discovering that discussion and language is a vital part of artmaking for them. During this time period they took part in two group exhibitions, SHIFT in Unit 44, Kirkos and Mesh/Mogall in A4 Sounds, the latter of which they took on a curatorial role.

Their work balances outside of the literal and has personal connections to queer experience. The image-making and paintings flow between abstract landscape and self portraiture. The writing engagements then fight with and marry to the imagery, opening portals of beauty in the aporic existence of struggle and complex blends of the whole.

Their recent work in the final year of their BA has been towards the NCAD Works 2024 show, and their graduation showcase titled “Dysphorum” serves as culmination of their previous works, coalescing their multi-disciplinary approaches to artmaking. From which, “Quickened Breath of being Lost” was purchased by the OPW for the State Art Collection.

Medium: Oil on canvas

Sorcha McNamara works as a painter; or more accurately as a maker of things. 
But even ‘maker’ isn’t really the right word. It’s too organic, too suggestive of the handmade, or the nobility of a craft. Instead, she is more of a composer, a conductor – the person in front of the orchestra waving their arms about, whose function and purpose you may question, but you know are important for the stability of the whole piece. 
Her approach to making things is simultaneously meditative and improvised; at once thoughtful and thoughtless. Her eye attends to the overlooked, unnoticed or disregarded aspects of the everyday, focusing her attention towards material, objects and fragments that are often discarded, salvaged, reclaimed    holding traces of a previous existence, or entirely ambiguous in their origin. 
Responding and adapting to the particularities of a given material, she constructs and orchestrates work that sits in a threshold between painting, sculpture and image-making, questioning the relationship between the shape or presence of a ‘thing’ and the meanings associated or placed within it.
She has no urge to add anything more to the world, only to take from what is left and make new shapes with it. 

Medium: Oil on recycled wood

Tim Millen graduated with an MA in Fine Art with distinction from the University of Ulster (2011) having completed a BA Painting at the National Colege of Art & Design, Dublin (1999). His paintings explore themes of ecology, mythology and place.

His most recent solo exhibition was ‘While your back was turned’ at Ards Arts Centre (2024). He has exhibited in numerous group and curated exhibitions across Ireland and UK, including ‘New Exits’ at The MAC Belfast (2023).

Millen was also selected for consecutive BEEP Painting Biennials, Elysium Galery, Swansea (2020 & 2022). He has received several arts awards including Freelands Foundation Funding, the Hennessy Craig Scholarship, Royal Hibernian Academy, Dublin and numerous Arts Council of Northern Ireland Awards. His work is also included in several public art colections including the National Self-Portrait Colection of Ireland, Limerick University and the Arts Council NI. He is currently an artist board member at QSS Studios, Belfast.

Medium: Oil on linen

Sorcha McNamara works as a painter; or more accurately as a maker of things. 
But even ‘maker’ isn’t really the right word. It’s too organic, too suggestive of the handmade, or the nobility of a craft. Instead, she is more of a composer, a conductor – the person in front of the orchestra waving their arms about, whose function and purpose you may question, but you know are important for the stability of the whole piece. 
Her approach to making things is simultaneously meditative and improvised; at once thoughtful and thoughtless. Her eye attends to the overlooked, unnoticed or disregarded aspects of the everyday, focusing her attention towards material, objects and fragments that are often discarded, salvaged, reclaimed    holding traces of a previous existence, or entirely ambiguous in their origin. 
Responding and adapting to the particularities of a given material, she constructs and orchestrates work that sits in a threshold between painting, sculpture and image-making, questioning the relationship between the shape or presence of a ‘thing’ and the meanings associated or placed within it.
She has no urge to add anything more to the world, only to take from what is left and make new shapes with it. 

Medium: Oil on reclaimed wood

Medium: Hand burned pyrography on Kizara wood paper 

Colm Mac Athlaoich is a Dublin-born contemporary artist whose practice spans painting and printmaking, focusing on materiality, process and perception. His practice often begins with source material drawn from press imagery, online platforms or self-documentation, which he deconstructs and reconfigures into abstract compositions that hover between figuration and abstraction, inviting viewers to reconsider how images are seen and understood.

Medium: Oil on canvas

Xia Peng's paintings embody a unique fusion of Chinese traditional art and Western contemporary influences, granting him the freedom to navigate the intricacies of complexity and simplicity. His artistic compositions embody the concept known in Chinese as "finding simplicity among complexity," residing on the border between loose and tight styles. This characteristic invites viewers not only to appreciate the looseness of his work but also to ponder the inherent tenacity it conceals.
Between 2015 and 2021, Xia Peng embarked on a journey to minimize his subjective influence on his art. Instead, he directed his focus towards creating subtle relationships between past and present, all within the realm of muted tones and silence. His goal is to achieve a level where abstract imagery detaches itself from narrative constraints, resulting in monochrome, blurred, and fragmented pictures.

In his latest series, "Diversität," Xia Peng explores the surreal and imaginative, weaving narratives that stir sensitive and disconcerting emotions in the audience. These works maintain a foundation in realism while delving into profound understandings and imaginings of reality and the surreal. Xia Peng's interpretation of magical realism prompts viewers to contemplate the interplay between reality and unreality, existence and fiction. Simultaneously, his work reflects skepticism and anxiety towards contemporary art history and the overwhelming influx of information.

Medium: Acrylic on canvas

Xia Peng's paintings embody a unique fusion of Chinese traditional art and Western contemporary influences, granting him the freedom to navigate the intricacies of complexity and simplicity. His artistic compositions embody the concept known in Chinese as "finding simplicity among complexity," residing on the border between loose and tight styles. This characteristic invites viewers not only to appreciate the looseness of his work but also to ponder the inherent tenacity it conceals.
Between 2015 and 2021, Xia Peng embarked on a journey to minimize his subjective influence on his art. Instead, he directed his focus towards creating subtle relationships between past and present, all within the realm of muted tones and silence. His goal is to achieve a level where abstract imagery detaches itself from narrative constraints, resulting in monochrome, blurred, and fragmented pictures.

In his latest series, "Diversität," Xia Peng explores the surreal and imaginative, weaving narratives that stir sensitive and disconcerting emotions in the audience. These works maintain a foundation in realism while delving into profound understandings and imaginings of reality and the surreal. Xia Peng's interpretation of magical realism prompts viewers to contemplate the interplay between reality and unreality, existence and fiction. Simultaneously, his work reflects skepticism and anxiety towards contemporary art history and the overwhelming influx of information.

Medium: Acrylic on canvas

Erika Richter was born in 1994 in Dresden, Germany, and completed her diploma at the Hochschule für Bildende Künste Dresden, where she later undertook a master's degree program. Her work is increasingly present in the Dresden art scene and beyond, with a focus on drawing, painting, graphic techniques and installation.

Richter’s printmaking revolves around etching and aquatint techniques. She both prepares and prints the plates herself, giving her full control over image, tone and texture. Her approach combines careful technical method (biting the plate, applying aquatint resin for tonal variation) with a tactile sensitivity to line and surface. The imagery often explores geological or natural formations, allowing the etched plate to carry both precision and atmosphere.

Richter’s work shows a lasting curiosity about the shapes and marks left by nature—rock, sediment, wind-worn surfaces. In her etchings, this fascination becomes visible on the plate: lines and tones trace layers of land or hint at shifting topographies. By pairing sharp, delicate cuts of the etched plate with softer, broader areas of aquatint, Richter creates images that feel both tangible in their depth and quietly poetic.

Medium: Paper, duplex print with 4 plates

McCaughey’s practice explores thematic threads surrounding the body, identity and place, using symbols and metaphors that best express personal narratives. Watery hybrids, drowning dames, flailing females, peace offerings, magnetic moons, brain fog on the horizons and empathic monsters emerge in the work.

The work is continually evolving through research, studio-based experimentation and current reflections on the body through lived experiences of endometriosis, infertility and menopause , out of which her conceptual concerns take shape. Looking at feminist phenomenology of art and form, this work is a personal attempt to express what it is to live in a female body.

Born in Dublin, Ireland. Eleanor McCaughey studied at TU, Dublin. Selected exhibitions include A Sea Change Into Something Rich And Strange, 2024 , RHA, Whispers Of Rhythm Balance On My Hands, Draíocht, 2024, Pay No Attention To That Man Behind The Curtain, The Complex,2023, and many more.

Medium: Acrylic/ oil on canvas