Ferrari Luce by Jony Ive

May 26, 2026 by Arseny Vesnin in 2026, Cars, Design, Portfolios

Ferrari has revealed Luce — its first electric vehicle and, perhaps more radically, its first five-seater. The collaboration with Jony Ive's agency LoveFrom marks a significant departure from decades of brand tradition, yet the numbers remain unmistakably Ferrari: four electric motors, 1,050 horsepower, 0–100 km/h in 2.5 seconds.

The design language walks a careful line between evolution and revolution. Luce translates to "light" in Italian — an apt name for a machine promising 530 km of range while carrying the weight of Maranello's legacy into unfamiliar territory.

Sasha Mingia’s Mingialand in Paris

May 24, 2026 by Arseny Vesnin in 2026, Portfolios, Photography, Lifestyle

Sasha Mingia photographs Paris the way a migrant learns a city — in fragments, without guarantees.

Her project Mingialand in Paris is not a love letter to the French capital. It is something more tentative — a document of the fragile process of constructing a relationship with a place that does not yet feel like yours. The camera becomes a tool for orientation, for testing whether recognition is possible when nothing is familiar.

No people appear in the images. The city is emptied out, suspended, almost waiting. Streets, facades, fragments of architecture and passing light form a kind of emotional topography — a map drawn by someone still learning to see.

Each photograph is paired with a diary fragment written on the same day the image was taken. The pairing is not illustration. It is accumulation. Two parallel records of displacement, running side by side, neither explaining the other.

Elizabeth Hibbard Photography

May 02, 2026 by Arseny Vesnin in 2026, Portfolios, Photography, USA

Elizabeth Hibbard photographs the emotional architecture between mothers and daughters.

Now based in Los Angeles, Hibbard builds images where family portraiture and constructed scene collapse into one unstable space. Her practice moves through family, gender, performance, psychoanalysis, and the body, asking how photography can mirror the hidden structures that shape intimacy and identity.

Hibbard is interested in what remains outside the frame of the "happy" snapshot. In her work, the camera does not simply record memory. It exposes the pressure beneath it: the roles we inherit, the scripts we repeat, the way femininity is learned through daily gestures and private rituals. Spontaneity and control meet in the same image, giving her photographs a tension that feels both tender and unnerving.

“I grew up alone with her from a young age until college, and we had a very isolated, boundary-less relationship; I didn’t often feel that we were truly separate people in many ways until much later.”

Hibbard's images sit exactly on that line between closeness and separation. They stage personal history without resolving it, allowing the viewer to feel how memory, body, and family mythology continue to perform through the present.

Elizabeth Hibbard

Ala Southiick

April 30, 2026 by Arseny Vesnin in 2026, Illustration, Portfolios, Serbia

Ala Southiick draws what she sees, where she sees it. The Serbian illustrator and environmental artist works in plein-air: sketchbook open, pen moving, catching street life as it passes.

Her technique is rooted in speed and presence. Quick observational drawings capture characters, animals, and the quiet dramas of public space before they dissolve. The method demands a certain surrender: no corrections, no second passes, just the line and the moment.

Southiick documents her outdoor sketching workshops on TikTok, filling page after page with the faces and creatures she encounters on location or showing the process of quick sketching. The sketchbooks become a kind of visual diary, not polished, not precious, but alive with the texture of being somewhere specific.

Follow Ala Southiick

Glass hammers by Pia Hinz

April 27, 2026 by Arseny Vesnin in 2026, Art, Germany, France, Netherlands, Portfolios, Sculpture

Pia Hinz builds hammers that could shatter at a touch.

The German-born sculptor Pia Hinz (b. 1991) works in stained glass, not windows, but objects. Screws, traffic cones, scythes, and shopping carts. Tools and labour symbols rendered in coloured glass segments joined by visible metal lines, their industrial purpose intact but their material logic inverted.

The tension is deliberate. These are objects built for pressure, for grip, for repetition, now frozen in a medium that threatens to break under the slightest force. A hammer that cannot strike. A rope that cannot pull.

Light does the rest. It passes through the coloured surfaces and casts tinted reflections onto nearby walls and floors, extending each object beyond its physical boundaries. The sculptures occupy more space than they should, fragility expanding where force once concentrated.

Hinz works between Amsterdam, Arles, and Ardèche, moving traditional stained glass technique out of the ecclesiastical context and into the territory of the everyday. The sacred window becomes a tractor door.

Follow up artist

Giuseppe Lo Schiavo: Between Worlds

April 23, 2026 by Arseny Vesnin in 2026, Art, Italy, Sculpture

Giuseppe Lo Schiavo makes art about the spaces between — water and air, body and simulation, the visible and what refuses to be seen.

The Milan and London-based visual artist works across synthetic photography and bronze sculpture, but the medium matters less than the territory he maps. His work circles threshold states — those liminal moments where one thing becomes another, where boundaries dissolve into possibility.

In ROTTA, his series of larger-than-life bronze dolphins, Lo Schiavo casts these creatures as guides between worlds. Dolphins exist at the border of water and air, ancient symbols of passage and transformation. One sculpture bears the phrase 'L'arte non serve a niente' inscribed along its back — art serves no purpose — a provocation carried on a body built precisely for navigating the in-between.

“They are threshold figures, between water and air, fire and water, between the visible and the invisible. They emerge as guides, as presences that offer direction.”

— Artist

For their collaborative exhibition L'Aria Aveva Una Forma — staged on Capri — Lo Schiavo joins Anton Alvarez in a liminal territory where two practices converge from opposite yet complementary directions. Lo Schiavo moves through photography and digital manipulation; Alvarez through physical, process-driven sculpture. Together they circle the same question: can emptiness take form?

He continues this approach with new fine art prints, including Helios Circle, the Ocean, and Synesthesia at Sunset. The pieces are printed on archival cotton paper in editions of 8+3 AP, with works reaching 165×122 cm — a scale that demands the synthetic image hold up to sustained looking. series approaches the same obsession from another angle, framing psychological boundaries, emptiness treated not as absence but as structure.

The concept anchors itself in perception. What we dismiss as void is, in fact, crossed by forces, memories, and invisible tensions. The air between two bodies. The pause before contact. Both artists translate this into material terms, one through image, one through object, and the exhibition becomes the space where those translations meet.

Follow up artist Giuseppe lo Schiavo

Sad Girls by Glam Beckett

April 22, 2026 by Arseny Vesnin in 2026, Illustration, NFT Art, United Kingdom, Portfolios

We've followed Glam since her first NFT project, Sad Girls Bar, went viral in 2021 with nearly $8M in volume.

Beckett draws what lingers after the party ends. The London-based illustrator works exclusively in black ink, building worlds where sadness wears its finest clothes and ennui poses like it knows you're watching.

Her monochrome compositions explore the space between beauty and darkness, romantic, erotic, heavy with nostalgia for things that may never have existed. The absence of colour is the point. Black and white strips away distraction, leaving only the emotional core: longing, melancholy, the glamour of feeling too much.

“I realised how empty and meaningless that work felt to me. I longed to create something that held real value and personal meaning. That’s when I made the decision to fully dedicate myself to art. And it turned out you don’t really need art education to become an artist.”

— Glam Beckett

Follow up artist Glam Beckett

Tallulah Dirnfeld Art

April 21, 2026 by Arseny Vesnin in 2026, Art, USA, Portfolios

Tallulah Dirnfeld paints the violence hidden inside being good.

The Los Angeles oil painter works in soft pinks and creams, the palette of girlhood bedrooms and ballet recitals, yet what emerges from these tender colours is something far more unsettling. Faceless figures in uniform, chrome horses frozen mid-gallop, severed braids arranged like relics, her canvases stage performed goodness as a kind of theatre in which the audience never quite knows whether they're watching devotion or dissection.

Her series "I Was Always Good" centres on the distortion that occurs when childhood memories age. Nostalgia, trauma, comfort, and fear mutate together into something both tender and threatening. The deliberate blurring in her technique mirrors this - precision giving way to soft surrealism, as if the paintings themselves are forgetting.

“Being beloved means being idealised, and being fully known is typically the price paid. It has a sharpness, almost a violent quality, along with tenderness. The beloved is exalted and even worshipped, but therefore distorted.”

— Tallulah

Follow up artist Tallulah Dirnfeld

Floaters by Dima Rebus

April 20, 2026 by Arseny Vesnin in 2026, Art, Portfolios

Dima Rebus paints with ice that strangers send him from around the world.

The process begins before he touches a brush. Contributors (or as Rebus calls them, “floaters”) across the globe collect water samples — from parks, alleyways, abandoned buildings — and mail them to his studio. Rebus freezes each sample with watercolour pigments, then lets it melt onto paper. The ice dictates the first layer: unpredictable blooms, mineral traces, the ghost of a place he's never been. Others arrive carrying contamination, political residue, ecological unrest — water as document as much as material.

Only then does he enter the abstract field with figurative imagery, responding to what the water left behind.

Nearly every sample arrives with a letter. Place, mood, memory, time — the contributors become co-authors before Rebus makes a single mark.

Follow up artist Dima Rebus

mcbess - Alice

March 07, 2026 by Arseny Vesnin in 2026, Illustration, Motioncollector

A talented person has many gifts. So does Matthieu Bessudo, whom we’ve been following for ages under mcbess moniker. Besides his extensive illustration work, Matthieu composes music and songs under the name Mcbaise.

Alice is a leading song from his “Wrongderful” album. I deliberately put this animation on the main page rather Music section because it belongs here. Worth mentioning, this video generally takes about six months of painstaking illustration work by talented Nicolas Macia under McBess ' direction.

“There’s a place for you to find
Let it bloom your mind”

— Mcbaise on "Alice"

P.s. This is Alice as a vinyl toy you will fall in love directly. Figure works as a night lamp, you better check yourself on mcbess store.

Gregorio Zanardi

February 26, 2026 by Arseny Vesnin in 2026, Art, Argentina, Portfolios, Digital Art

Something is striking about Gregorio Zanardi’s work. Born in Argentina in 2000, he’s barely in his twenties, yet the emotions in his paintings and digital pieces feel as deep as if he’d spent decades on them. That clash of youth with old-soul feeling may be the point.

Zanardi's work is most steady in portraiture, especially of older faces. These portraits aren't idealised or sentimental. They show weathered, thoughtful people with something unresolved. Wrinkled skin, eyes turned inward. Zanardi chooses faces society often ignores and puts them front and centre with blunt intensity. This follows a Latin American figurative tradition. Artists like Antonio Berni or León Ferrari used human presence as resistance, and Zanardi, whether intentionally or not, continues that line.

What separates him from simple melancholy portraiture is tension. One can describe his practice as a deliberate collision between beauty and unease, and you feel it. Harmonious compositions that carry a current of discomfort just beneath the surface. An imperfectly rendered face with something slightly off in the gaze. The work doesn't let you settle.

Worth following across NFT Platforms, and worth keeping an eye on his physical work, which you suspect may be where the most interesting surprises are still to come.

Follow up

Richard Nadler

February 11, 2026 by Arseny Vesnin in 2026, Art, Craft, Illustration, Germany, Portfolios

Richard Nadler is an artist whose work is based on close observation and personal stories. His work is shaped by his father's influence, especially his lifelong love of textiles and craftsmanship - from antique Persian rugs to worn watches and handmade leather shoes.
Nadler's aesthetic belief is that surfaces hold time and closeness, and that objects carry human experience. His work links traditional craft values with contemporary digital art.

Nadler focuses on showing unseen layers of life through rooms and halls. Instead of people, he paints empty spaces as a "vacuum of presence" that feels lived-in by placing marks, textures, and light. This choice shows how memory and feeling live in places. He turns homes into stages of personal moments as joy, grief, laughter, silence and made visible by careful detail and mood. His work mixes documentary observation with poetic interpretation.

The artist works with materials both digital and physical, exploring time and handmade skill. By offering his pieces as NFTs and as embroidered versions, Nadler contrasts the instant nature of digital work with the slow, meditative pace of embroidery.

Follow up artist

Riona Buthello

January 20, 2026 by Arseny Vesnin in 2026, United Kingdom, Portfolios, Art

Riona Buthello is a Manchester-based painter whose work explores memory, emotion, and shared experience. Painting has always been part of her life, an intuitive way she connects with herself and the world.

Her practice is defined by a dreamy, nostalgic aesthetic, often described as painting collective memories with a pointillist touch. Soft, rain-blurred scenes, hazy light, and quiet atmospheres sit at the heart of her work, echoing moments that feel familiar yet just out of reach. Manchester’s grey skies and reflective streets play a central role in shaping its visual language. Feels like distant memories you are trying to focus on by squeezing your eyes.

Working from her home studio, Buthello starts each painting with bold, expressive strokes, valuing energy and feeling over perfection. This instinctive method gives her work its movement and emotional depth.

rionabuthello.com