Israeli artist Nir Hod once told Interview Magazine, his greatest discovery was that “it’s not easy getting older.” In his painting series “Genius,” Hod pulls at the tension between childhood and adulthood and breaks open a space in between innocence and inurement. His images are of young children smoking cigarettes and looking at the viewer with expressions of disdain, arrogance and suspicion. Though there is certainly an element of dark humor in dressing rosy-cheeked toddlers in rich fabrics and endowing them with sweeping hair, the paintings are disquieting for their ability to reflect one’s now-corrupted inner child back unto him.
The paintings hang together, creating a school of contemptuous children. However, their individual conceit produces a profound feeling of loneliness, of superiority and alienation. One cannot gaze at these paintings for long. The expressions of the children pain the viewer and undoubtedly isolate them from their other hanging peers.
For the past few decades, New York City-based painter 
The intricate abstract works of Miertje Skidmore internalize and transform the environmental extremes of the Australian landscape. Her paintings suggest the otherworldly- each abstraction could be a birds-eye-view of a multicolored planet. Her palette makes use of mineral and elemental colors that wouldn’t be out of place in some of the most rare enclaves of nature.
In Adele Bessy’s crowded paintings, figures and faces are used as building blocks. Her work, in both its frantic quality and control, has been compared to the likes of Bosch and Arcimboldo. The artist is based in Achères, Ile-De-France, France.