Gonzalo Borondo was born in Valladolid (ES) in 1989. Since 2007, he has developed his works in public spaces, elaborating an original idiom of painting and installations closely tied to the sites of his efforts. His art arises from a dialogue with the surrounding context, an ongoing exchange with the memories of the site and the perceptions of its space, both physical and symbolic. The underlying aim of his artistic experimentation is to extend the possibilities of painting into other disciplines (theatre, video-art), supports (glass, straw, walls, ceramics, wood…), and multiple aesthetic techniques (stone engraving, silk-screening). Borondo explores the idioms of the past, recasting them in a contemporary light through a new and innovative approach to tradition.  His contemplation of the sacred, of the conflicts inherent in the pairing of man and nature, serves as the cornerstone of his poetics, which he uses to break these elements down, in the course of the creative act, into their most ancestral, instinctive forms, bringing forth a perpetual essence. The artist’s interest in working in public places, in exploring the relationship between art and life, has led him to develop site-specific projects in non-conventional settings, works whose impact on the general public, as both installations and experiences, has been intense. Borondo creates public works of art on an international level. Since 2012 he has held one-man shows in museums, galleries, and other venues in Italy, Spain, France, and England. His latest projects include “Insurrecta” (Segovia, ES, 2020), “Merci” (Temple des Chartrones, Bordeaux, FR, 2019), “Sacrilége” (an opera recital at the Toursky Theatre, Bordeaux, FR, 2018), “Matiére Noire” (the flea market in Marseilles, FR, 2017), “Non-Plus Ultra” (MACRO – Museum of Contemporary Art of Rome, IT, 2018) and “Cenere” (the cemetery chapel, Selci, IT, 2017).

CANEMORTO is a trio of anonymous Italian artists. Active since 2007, over the years the trio has produced works all around Europe with a multidisciplinary approach, distinguished by his raw and brutal “six-handed” style. CANEMORTO's imagery mixes the language of graffiti with the cult of an evil deity called Txakurra, who influences the works and choices of the group. CANEMORTO has exhibited his work in solo exhibitions at Studio Cromie (Grottaglie, IT), Kapow (Gent, BE), Altrove Gallery (Catanzaro, IT), Viafarini (Milan, IT) and has participated in group exhibitions, performances and screenings in galleries and institutions including Artmossphere Biennale (Moscow, RU), MARCA (Museum of the Arts of Catanzaro,IT), Museum of Follia (Lucca, IT), Triennale (Milan, IT), Ethnographic Museum of Friuli (Udine, IT), Galleria Varsi (Rome, IT), Palazzo Fazzari (Catanzaro, IT), Encore (Brussels, BE), USF Verftet (Bergen, NO), Ex Dogana (Rome, IT), Above Second Gallery (Hong Kong, HK), V9 Gallery (Warszawa, PL), Urban Spree (Berlin, GE), TOLK Gallery (Nizhny Novgorod, RU) and FIFTY24MX Gallery (Mexico City, MX).  “One in three” is how the group that has taken the name CANEMORTO defines itself. They are a hybrid that is difficult to define, lurking in ambiguity, and from this, they take their force: by being composed of three souls, contrary to every label and classification, constrained by anonymity and always moving between the capitals of Europe and the outer peripheries, they are a creature fought over by gallery owners and law enforcement, positioned halfway between legality and lawlessness, with one foot inside the system of art, and the other well-anchored outside it. Involved in the field of official art, and before that, in the art of the street, they transpose their poetics and iconography from one medium to another, depending on the context, with the knowledge to operate in the larger world of art and not just a subculture. Text by Elisa Fusi Ph. credit: Ivan Cazzola

Run (Giacomo Bufarini, Ancona 1979) is one of the leading figures of the Italian Urban Art scene, among the first to propose a figurative aesthetic for his wall paintings together with Blu, Dem, Ericailcane between '99 and the early 2000s. He alternates street painting of very large-scale murals with drawings, prints and installations on paper, made for important festivals and exhibitions around the world: three times present in China (in 2010, 2011 and 2017) where he participates in the 2018 Shenzhen Architecture Biennial for which the documentary What I Do about his experience in the megalopolis with artists Hitnes and Jiamin Hu is also produced; in 2014, the Howard Griffin Gallery in London, a gallery that presents artists who are experimenting with new languages, dedicated its first solo exhibition to him, for which the book Parable of G was published, also exhibiting one of his installations the following year in an exhibition in the Los Angeles branch. In 2016 for the Marrakech Biennial of Art in Morocco, he painted the pavement of Essaouira Square, one of the largest works in North Africa; the 2017 exhibition Fuori luogo at Ancona's Galleria Puccini gives him a chance to interact with his hometown by painting the advertising posters that are then displayed in the gallery and wallpapering urban spaces with posters of his drawings, while the following year he signs the intervention on another place of the heart, the Sonnino book stalls in Piazza Cavour.  In 2021, for Falconara Marittima, his native town, he creates the mural Oltremare and is included in the collective Attitude. Graffiti writing, street art, neo muralism at the Palazzo Blu in Pisa, a survey of the latest generation of artists active in the urban environment. He has participated in many festivals around the world: among the most important are Rebel Paintbrushes in Marzabotto, Schmalkalden in Germany, the Wallabe in Rovigo, Biennale of Art Marrakech, Croydon Mural Festival and many others. In June 2022, he received his first commission and recognition from the City of Hackney, East London, where he lives and where, since 2010, he has been painting one on top of the other, in an artistic and social experiment with the neighborhood, murals that represent, in continuity with the poetics portrayed in all his works, the themes of travel, encounter with others, curiosity about the many individualities that color the world, the weaving of relationships and the difficult balances between people, aspiring to a coexistence in respect of different cultures. In the same neighborhood, the artist's studio/gallery, Bodega, has also been open since 2020, where, in addition to exhibiting his work, he hosts musical events, performances and interventions by other artists. Many of his most important works are published in the volume Time Traveler Artist Man, Unicorn 2016.

Michele Servadio was born in Italy in 1986. He grew up in a small village in the Veneto countryside. Drawn to painting and drawing from an early age, Servadio attended the Art School in Padua and the University of Visual Arts in Venice. In 2007 he approached the world of tattoos, fascinated by its tradition and cultural phenomenon. He moved to London in 2010.

In his atelier in Hackney Wick, Servadio creates new projects which interconnect the different practices of tattooing, painting, printmaking, photography, and performance art. Merging these diciplines, feeding them back into one another, he creates a unique universe where he is able to explore and describe the human condition and his environment.

The aesthetics of his work is dark and melancholic; it embodies Folklore, expressionism, and the bleakness of a post-industrial scenario.

In 2014 he started to experiment with sound and tattooing. This gave birth to 'Body of Reverbs', a contemporary Ritual combining sound, pain, accupuncture and permanent marks on the body. Body of Reverbs has been presented in the form of live performances and instilations across the UK, Europe, Asia and America.

His artworks have been exhibited in England, Italy, and Germany.

SHE.LAB is a creative studio specializing in editorial design and the art of handcrafted bookbinding born in 2019 from the idea of designer Paola Pompili with the aim of creating a reality that would become a referral point for book and paper object lovers, thanks to the experimentation of different techniques, materials, and supports. The ten-year collaboration with Galleria Varsi in Rome has evolved over time, making She.Lab an essential component of this project. Starting from January 2022, in fact, She.Lab works inside Varsi Art&Lab's laboratory and embody, together with the screen printing studio 56Fili and the design studio Base/34, its artisanal and productive side. In this space, Paola Pompili and bookbinder Claudia Mosena (who joins the project in 2022) work in synergy to design and create products that feature research, craftsmanship, and uniqueness as their strengths. The studio opens outward during workshops and becomes a place for sharing and disseminating manual skills and traditional workmanship dedicated to the world of bookbinding.