Ana Calzavara is perhaps most interested in diversification of styles, techniques and theme. She credits her professional training in painting, photography and art history by incredibly talented and patient masters in the Brazilian art scene for her eclectic creations. Finding she was most fond of traditional techniques and bold yet minimalistic visuals, Calzavara strives to use space, color and light in ways which marry classical and contemporary techniques, creating a novel atmosphere for each piece.

Antonio Bokel reveals a constant intersection between art and the fabric of urban life, as constitutive parts of his symbolic universe. It resorts to this experience of the city as existential sequences - there it constructs its referential space, there it seems to invent a territory, it intends to constitute an aesthetic and spatial extension in a wider dimension.

Daniel Taveira has a talent for highlighting the mood of his subject, whether it may be a living soul or an inanimate object. His love for balance and geometry are serenely evident in each peace as a calling card for Taveira’s calculating approach to personal expression.

Ivonete Leite: Through pictures, Ivonete can show us her true self and her love for life. Her images capture details, colors and intensity that captures one’s senses of beauty and peace. The photography shows an interest in the ephemeral moments of the everyday life as well as in the almost-abstract abstract quality of landscapes.

Karla Caprali is interested in the relationship between place and people. Her work deals with the exploration of sensorial experience within architectural, urban and personal spaces. By the process of creating traces, shadows, impressions, imprints, and reflections, she emphasizes context, memory, and history.

Liene Bosquê: Her work is about things in the world where improvisation, reuse and reconfiguration are at stake. She is interested in the daily form of urban construction, decorative and practical use of the material, which in some way reflect the socio-economic and cultural realities of a people.

Mano Penalva: Mano Penalva documents the material culture, behavior changes and globalization. His artwork is deliberately nonrepresentational, allowing materials to dictate form and come together on their own. The artist explores the poetry obtained by the displacement of materials and objects from his everyday context, working with different media such as painting, photography, sculpture and installation.

Marcelo Macedo usually take his drawings to the streets, which in turn, provides materials for the construction of his pieces: pieces of paper, wood, discarded and found objects that are gaining redesigned with new life and meaning. In their diversity, all works have, however, a shared north: the use of calm colors and objects found on the streets and fairs of the city are always present, giving the work a striking identity. The inclination for a serene lifestyle, enthusiasm for the sea, and belief in a faith of its own, guide Marcelo’s work through an aesthetic of washed tones and a strong presence of manual labor.

Maritza Caneca: Maritza first began to see pools as artistic objects in 2012, after a visit to her grandparent’s hacienda where she spent her childhood vacations. The pool was the epicenter of crowed family lunches and a space of joy and games. Upon returning, three-and-a-half decades after childhood weekends, she found that the pool’s atmosphere of splendor had evolved. Where the pool was once a place of joy, glamor and human interaction, it was now overwhelmed by residue and emptiness. Maritza realized that this void was not entirely a void; it was filled with memories and she was moved by the power of these sensations, so unexpected yet so welcome.

Mariza V. Formaggini: The object of her photographs runs through the universe of invisibility. Whether it is in the human field, individual or collective, she seeks to give visibility to the invisible. Mariza’s interest is focused on anthropological, sociological and philosophical questions.

Mateu Velasco: The artist’s vibrant, fragmented representations of life enjoyed for the sake of living are both invitations for repose and the starting point for an internal dialogue the viewer may choose to have with him or herself. His work offers viewers a break from a world obsessed with obsession, a chance to open the mind to the poetic possibilities of an existence withdrawn from the sometimes-schizophrenic pace of modern living.

Maurício Mallet: His poetry is related to memory, with remanence (past and future) raising questions in his work related to the figurative and the abstract, the presence of color and its absence. He prefers using oil and acrylic on paper, paper board, or canvas and often creating abstract figures outlined by a single, dominant color. The paintings are a reminder of a shared past and barriers built up seemingly overnight.

Michelle Rosset: The narrative of her work deals with the relationship between colors, role and gesture. The starting point of her process of creation is the deconstruction of images where meaning is displaced and the interpretation becomes multifaceted. Her references are everyday objects and landscapes, where colors are priorities in relation to the object.

Thainan Castro brings drawing skills developed in early childhood with him, researching new techniques and trying to adapt them to his work. The meticulousness of his trait comes from the process of relearning to draw, adapting to the materials after losing part of the movements in an accident that paralyzed his body for months. Best analyzed by Adriana Herrera (curator), “the adaptation to this new process of drawing made the artist look for new ways to explore drawing and painting, bringing subtlety to his work.”

Adriana Herrera is an independent curator and co-founder of the Aluna Foundation: a non-profit organization created to promote a wide range of dialogues among artistic practices through a continuous and open invitation for artists to engage in its projects. Herrera's curatorial vision searches for the connection between the intimate and the collective, the personal and the social realms, and the interest for the need and possibilities of imagination. Other notable accomplishments include co-authoring a critical essay for the book Raul Canibano published by La Fabrica/FotoBolsillo and lecturing on Ernesto Oroza's "Arquitectura de la necesidad" at Arizona State University.

Willy Castellanos is the other co-founder of the Aluna Art Foundation. He is an Art Historian, Curator and Photographer, who has worked for magazines like Bohemia, contributed to the entertainment pages of Argentine newspapers Clarín and La Nación, and has co-authored two books: “El Deseo en El Pavo Real (Historia de una academia de Tango)” with the composer and dramaturge Alberto Muñoz (Buenos Aires, 2000); and “Obras: 1996-2000” (Group of Authors), a publication from El Gobierno de la Ciudad de Buenos Aires. His photography has been featured in Cuba, Argentina, Brazil, and the United States, and his writings on art have been published in several magazines like FotoVision and Art Nexus.