Natural, scenic and serene are Sophie Xu's photographs. Not to mention powerful in colour - the vibrant hues accentuate the natural vibe oozing from her pictures. The sitters look genuinely comfortable and voluntary in their poses. The series captures a leafy, flowery environment, making us wonder - just how beautiful life would be without concrete jungles and just natural ones instead.

The troubled faces of Stefan Zsaitsits illustrious imagination are unforgivably unforgettable. They dare us to look at them. Some are admirably well put together and others are scribbled with hidden or deliberately disguised features. And… Well, some just give up and hide beneath a paper bag with two modest holes to peer from. My favourite being the young woman or girl with her palms planted firmly to her face… She reminds me of me.

A thought-provoking collaboration between exceptionally real versus imaginative photography. Each of Aernout Overbeeke's works here, display an intriguing combination of exceptionally real, although colourless candidates often caught with inventive abstract contributions. They bring colour and enthusiasm to Overbeeke's otherwise dull sitters, who seem to have been waiting for such a thing as colour to visit them. It can also be said that some images, in this style, appear to be graffitied with colour and humour - advancing the portraits of black and white sitters.

Inky. Fluid. Layers… Are just some words that come to mind upon first glance and engagement with Carne Griffiths' illustrations. What is displayed here, I feel, is utter artistry; technique and application - accurate and incredibly well performed. The beautiful linear streaks escaping from the page give an unusual sense of life to the concepts. The shades are particularly well chosen, from fleshy skin tones to aquatic green leafy tones. I am thoroughly impressed and would very much enjoy to carefully watch the process that shaped these delicate and rare illustrations.

Although there is an element of humour emanating from the design of the characters Jiyoon Chung has illustrated, there is also a deep sadness - particularly encapsulated in one illustration of the peculiar mound person with scrawny little arms and hands. An empty space has formed in its mound and the mound looks helplessly sad. The characters appear to live in this blank space with very little to occupy their realm. This is magnified in another poignant illustration with one mound seemingly singled out from a group of mounds in the distance. I love the short narratives that exist in this series!

They don't have to be landscape shots! They can just be some of the most incredible documented natural patterns that are enveloping us into the image. I can almost feel the sensation of the climate upon engaging with these moody photographs. They are utterly mesmerising when it becomes apparent to us - what our Earth is capable of producing.

So vivid are Bastian Preussger's illustrations, muscular and skeletal hints can be read. From the dark grainy textures emerge suspicious characters; a holy man with an unusual look cast upon his face, a priest gawking to our right while his fingers hide some of the most essential parts of the face where expressions are usually made clear. The illustrations reminds me of a single traveller, forgotten camera, journeying across lands vastly different from one another, and here is the documentation, the crafted evidence of crafty looking men.

Layer upon layer of magazine and/or newspaper pages with obscure shapes cut into them, morphing as they go deeper into the bottom of the magazines. It is difficult to establish whether Randi Antonsen's pieces fall under the category of sculpture or fine art. Since they seem to bear a conceptual relevance - the notion of re-sculpting and manipulating the appearance of a media produced item can be seen to have more than