Salustiano Pop, Gladiolos con Mariquitas
For a long time, Salustiano’s painting was a longing for perfection, an unrelenting pursuit of an idealized reality. So much so, it could be called Hyper-idealism. He depicted figures suspended in a pure, almost sacred space, where beauty held something absolute, unbreakable. But over time, he came to understand that external perfection was not enough. His gaze then began to shift, towards another place: childhood.

Childhood, with its boundless ability to blend reality, dreams, and fantasy, offers Salustiano a new language. Because it is no longer about representing the ideal, but about evoking what once was, or might have been. Rigor softens into tenderness; precision turns into reverie.

Stuart Haygarth Milk Moon

The Milk Moon lights draw inspiration from the full moon of May, traditionally known as the Milk Moon—a time when the moon rises in full brilliance, the brightest lunar moment of spring, illuminating the landscape with a soft, spectral glow.
At the heart of each piece is carefully curated vintage milk glass, a material first created in 16th-century Venice. With its opaline translucence and quiet elegance, milk glass carries both a sense of history and an ethereal, otherworldly quality.
Each light is a composition of repurposed forms, stacked and arranged into tower-like structures that elevate a glowing orb—an earthly moon. In assembling these sculptures, I aim to blur the boundary between the celestial and the domestic, the sacred and the everyday.

Salustiano WITHIN II (Zahara con Collar de Perlas y Perla)
Within II by Spanish artist Salustiano is a striking pictorial work created as a homage to the great masters of the Renaissance, portraying the human body with extraordinary hyperrealistic precision. By removing any background, the artist directs the viewer’s attention entirely to the subject, allowing every detail of the figure to take center stage. In Within II, particular emphasis is placed on the face, where Salustiano masterfully captures subtle expressions and textures to reveal the person’s true nature, emotions, and inner soul. 

Stuart Haygarth Milk Moon

The Milk Moon lights draw inspiration from the full moon of May, traditionally known as the Milk Moon—a time when the moon rises in full brilliance, the brightest lunar moment of spring, illuminating the landscape with a soft, spectral glow.
At the heart of each piece is carefully curated vintage milk glass, a material first created in 16th-century Venice. With its opaline translucence and quiet elegance, milk glass carries both a sense of history and an ethereal, otherworldly quality.
Each light is a composition of repurposed forms, stacked and arranged into tower-like structures that elevate a glowing orb—an earthly moon. In assembling these sculptures, I aim to blur the boundary between the celestial and the domestic, the sacred and the everyday.

Stuart Haygarth Milk Moon

Milk Moon lights draw inspiration from the full moon of May, traditionally known as the Milk Moon—a time when the moon rises in full brilliance, the brightest lunar moment of spring, illuminating the landscape with a soft, spectral glow.
At the heart of each piece is carefully curated vintage milk glass, a material first created in 16th-century Venice. With its opaline translucence and quiet elegance, milk glass carries both a sense of history and an ethereal, otherworldly quality.
Each light is a composition of repurposed forms, stacked and arranged into tower-like structures that elevate a glowing orb—an earthly moon. In assembling these sculptures, I aim to blur the boundary between the celestial and the domestic, the sacred and the everyday.

Stuart Haygarth Selfie (Brass)
The work Selfie (Brass) explores the vanity mirror’s historical, cultural and societal significance and highlights its evolution as a tool for self-awareness, self-expression, and its influence on self-esteem.

Using a selection of carefully chosen and positioned vintage vanity mirrors a ‘cell-like’ structure is created, uniting the mirrors harmoniously as a single entity. This cell-like form in turn alludes to body and skin cells, forming a direct link between the work’s concept and its physical appearane. This arrangement draws parallels between the traditional act of using hand mirrors and the contemporary act of taking selfies, reflecting a continuity in narcissistic self-presentation across eras.

Stuart Haygarth Selfie (Ebony)
The work Selfie explores the vanity mirror’s historical, cultural and societal significance and highlights its evolution as a tool for self-awareness, self-expression, and its influence on self-esteem.

Using a selection of carefully chosen and positioned vintage vanity mirrors a ‘cell-like’ structure is created, uniting the mirrors harmoniously as a single entity. This cell-like form in turn alludes to body and skin cells, forming a direct link between the work’s concept and its physical appearance. This arrangement draws parallels between the traditional act of using hand mirrors and the contemporary act of taking selfies, reflecting a continuity in narcissistic self-presentation across eras.

Carola van Dyke Caligo

Caligo by Carola van Dyke is an embroidered, multi-coloured butterfly wing, meticulously crafted from thread and wire and presented under a Victorian/French glass dome on a wooden base.
Part of a series, Caligo reflects van Dyke’s refined textile practice, where stitching becomes both drawing and sculptural construction. The careful layering of thread creates depth, texture, and subtle tonal transitions, echoing the fragile complexity of natural forms.
Encased in glass, the work evokes the tradition of 19th-century natural history displays, while simultaneously drawing attention to the richness of nature at a time of mounting environmental threat. 

Carola van Dyke Siproeta Stelenes
Siproeta Stelenes is a striking, hand-embroidered butterfly wing rendered in vibrant greens and reds, meticulously crafted using thread and wire, and elegantly displayed under a Victorian glass dome. This work captures the intricate beauty and fragility of nature, offering a moment of reflection on the delicate ecosystems that surround us. Inspired by the vivid patterns and textures of the Siproeta Stelenes butterfly, the piece serves as both a celebration of natural richness and a gentle reminder of the mounting environmental challenges we face today. The combination of traditional embroidery techniques with the classic Victorian display evokes a timeless appreciation for craftsmanship and the natural world.

Carola van Dyke Still Life
‘Still Life’ is an ode to Dutch 17th century artist Rachel Ruysch, who was exquisite in painting flowers. Like much of Carola’s work, this piece explores themes of individuality and connections, in human life and in the natural world. Flowers and feathers come together in one piece, with little details as a dead poppy head and a butterfly. The flowers are attached to narrow wire, so it can be moved slightly in personally favourable directions.

Carola van Dyke Floral Symphony
Floral Symphony is an embroidered sculpture inspired by Dutch 17th-century still life and vanitas paintings. Carola examine these historic sources through a contemporary lens, in pursuit of something new. These embroideries are double-sided, with the front and back each presenting a unique appearance. Floral Symphony resemble a reflection of beauty, vitality, the play of light and shadow, growth and life against its underlaying darker side of mortality and the fleeting nature of existence. Like much of Carola’s work, these pieces explore themes of individuality and connections, in human life and the natural world. The meticulous attention to detail in the original paintings mirrors Carola’s own fascination with the natural world and the tiny intricacies often overlooked.

Carola van Dyke Floral Descent
Floral Descent is an embroidered sculpture inspired by Dutch 17th-century still life and vanitas paintings. Carola examines these historic sources through a contemporary lens, in pursuit of something new. These embroideries are double-sided, with the front and back each presenting a unique appearance. Floral Descent resemble a reflection of beauty, vitality, the play of light and shadow, growth and life against its underlaying darker side of mortality and the fleeting nature of existence. Like much of Carola’s work, these pieces explore themes of individuality and connections, in human life and the natural world. The meticulous attention to detail in the original paintings mirrors Carola’s own fascination with the natural world and the tiny intricacies often overlooked.

Boris van Berkum Kabra Blauw (Parsley)
The piece symbolizes cultural unity, combining the spiritual significance of blue and white in Winti tradition with the Dutch national art form. The design blends a Yoruba ancestor mask with a 17th-century Delft vase, creating a powerful representation of how art bridges historical and cultural divides. Blessed by Winti priestess Marian Markelo, it stands as a symbol of connection through shared history and spirituality.
Hand-painted by master-painter Diana van Zeijl (atelier Heinen Delfts Blauw Delft, Netherlands )
Kabra Blauw is part of the ongoing collaboration between artist Boris van Berkum and Winti priestess Marian Markelo.

Reinier Bosch Dew Black

Dew Black bench  is a part of The Black Melting Series, a family of design objects that seem to melt. The process is as fluid as the melting of the bronze in the foundry where the piece is made. Models are made of wax, which are then casted in bronze. The objects are made as one piece: models are made of wax, which are then casted in bronze, and finished with black patina.
Reinier Bosch’ s Melting Series is a striking exploration of fluidity and transformation in design. He distorts and bends familiar forms, mimicking the process of melting, which evokes a sense of imperfection and organic change. The materials seem to defy their usual properties—shifting from rigid structures into soft, dripped forms that blur the lines between object and sculpture

Reinier Bosch Lava

Lava side table is part of The Melting Series, a collection of bronze design objects that give the impression of melting. The creation process mirrors the fluidity of melted bronze in the foundry where the pieces are cast. Models are initially made from wax, then cast in bronze, resulting in seamless, one-piece objects with a highly polished finish. The material’s fluidity and the care poured into each piece by both the craftsmen and the designer are crucial elements of the process.
Reinier Bosch explores a dynamic approach to his designs: he captures fleeting moments that would normally unravel in time. Even though the pieces are static, they convey a sense of movement, evoking the image of flowing liquid.

Reinier Bosch Flow Black

Flow Black console is a part of The Black Melting Series, a family of design objects that seem to melt. The process is as fluid as the melting of the bronze in the foundry where the piece is made. Models are made of wax, which are then casted in bronze. Flow Black is made as one piece: models are made of wax, which are then casted in bronze, and finished with black patina.
Reinier Bosch’ s Melting Series is a striking exploration of fluidity and transformation in design. He distorts and bends familiar forms, mimicking the process of melting, which evokes a sense of imperfection and organic change. The materials seem to defy their usual properties—shifting from rigid structures into soft, dripped forms that blur the lines between object and sculpture.

Reinier Bosch Secret Lagoon

Secret Lagoon side table is part of The Melting Series, a collection of bronze design objects that give the impression of melting. The creation process mirrors the fluidity of melted bronze in the foundry where the pieces are cast. Models are initially made from wax, then cast in bronze, resulting in seamless, one-piece objects with a highly polished finish. The material’s fluidity and the care poured into each piece by both the craftsmen and the designer are crucial elements of the process.
Reinier Bosch explores a dynamic approach to his designs: he captures fleeting moments that would normally unravel in time. Even though the pieces are static, they convey a sense of movement, evoking the image of flowing liquid.

Reinier Bosch Ink Writer Black
Reinier Bosch’ s Melting Series is a striking exploration of fluidity and transformation in design. He distorts and bends familiar forms, mimicking the process of melting, which evokes a sense of imperfection and organic change. The materials seem to defy their usual properties—shifting from rigid structures into soft, dripped forms that blur the lines between object and sculpture.

Reinier Bosch Twijg

Reinier’s artistic practice draws from the principles of Qigong, an ancient Chinese discipline focused on the cultivation of energy through movement and breath. A practice that he has not only studied, but also benefitted from personally. Reinier often works with bronze as a material, and his series of works are deeply influenced by his own life experiences. Everything is in flux, like sand slipping through our hands: change is inevitable and natural. But his works invite the viewer to feel this impermanence not as loss, but as an essential part of life. When we resist this flow, when we try to push back, that resistance manifests as stress, which Reinier believes to be the primary toxin in our bodies. This influence is evident in his works as a constant underlying theme of motion. This focus on movement and transformation finds a powerful expression in his Melting Series. Twijg, seemingly frozen in time, reminds us of the temporary nature of a fleeting moment.
Twijg is also a reference to the ancient symbol of hope: the dove returning with a branch, signaling a new beginning.

Reinier Bosch Twijg

Reinier’s artistic practice draws from the principles of Qigong, an ancient Chinese discipline focused on the cultivation of energy through movement and breath. A practice that he has not only studied, but also benefitted from personally. Reinier often works with bronze as a material, and his series of works are deeply influenced by his own life experiences. Everything is in flux, like sand slipping through our hands: change is inevitable and natural. But his works invite the viewer to feel this impermanence not as loss, but as an essential part of life. When we resist this flow, when we try to push back, that resistance manifests as stress, which Reinier believes to be the primary toxin in our bodies. This influence is evident in his works as a constant underlying theme of motion. This focus on movement and transformation finds a powerful expression in his Melting Series. Twijg, seemingly frozen in time, reminds us of the temporary nature of a fleeting moment.
Twijg is also a reference to the ancient symbol of hope: the dove returning with a branch, signaling a new beginning.

Reinier Bosch Twijg


Reinier’s artistic practice draws from the principles of Qigong, an ancient Chinese discipline focused on the cultivation of energy through movement and breath. A practice that he has not only studied, but also benefitted from personally. Reinier often works with bronze as a material, and his series of works are deeply influenced by his own life experiences. Everything is in flux, like sand slipping through our hands: change is inevitable and natural. But his works invite the viewer to feel this impermanence not as loss, but as an essential part of life. When we resist this flow, when we try to push back, that resistance manifests as stress, which Reinier believes to be the primary toxin in our bodies. This influence is evident in his works as a constant underlying theme of motion. This focus on movement and transformation finds a powerful expression in his Melting Series. Twijg, seemingly frozen in time, reminds us of the temporary nature of a fleeting moment.
Twijg is also a reference to the ancient symbol of hope: the dove returning with a branch, signaling a new beginning.