Charlyn Reyes (b. 1991) is an artist and designer working in sculpture and creating design objects. Moving between mediums organically, she currently works primarily in clay, a material she is drawn to for its history and connection to the earth. She received a Bachelor of Design (Honours) degree from York University in Toronto. Her reverence for the work of hands through craft traditions has inspired her ongoing explorations of form through natural materials imbued with energy. Her practice is guided by intuitive feeling and a sensitivity to her materials and process. She currently lives and works in Montreal, Canada.

Farrah Sit is a furniture, lighting, and ceramics designer based in Brooklyn, NY. Her design perspective - across a broad range of mediums - explores the contrast of masculine forms with soft details. Her work combines inspiration from the natural world with an exacting attention to detail. The result: timeless design objects that embody a peaceful, organic beauty.

FICT, which stands for ‘From Craft to industry,’ is an independent design studio founded by Jang Hea Kyoung. Based in Seoul, South Korea, Jang creates modern furniture and objects using a process that combines experimental design with age-old craft. She has exhibited her work all over the globe, including at Maison & Objet, the London Design Fair, and the Lake Como Design Fair.

Hiroko Takeda is a New York-based artist from Japan, where she trained in the tradition of the Mingei Undou (Japanese Arts and Crafts Movement) and began her practice in Kyoto and Tokyo. Takeda received an MA in Constructed Textiles from the Royal College of Art in London. She has exhibited in North America, Europe, Asia and Australia. Her work has been commissioned by leading architects and private collectors worldwide. She has been an artist-in-residence at the Josef and Anni Albers Foundation, and has received the International Textile Award in Tokyo, the ICFF Editors Award, and the Jack Larsen Contemporary Textile Award. She has lectured on her art with Sheila Hicks in New York and is a guest lecturer at Tama Art University in Tokyo.

Kassandra Thatcher is a sculptor and designer working largely in clay. She terms the style of her work as ‘static gesture,’ in reference to suspended motion and its form as the basin of her inspiration. In translating her introspection and imagined spatial context into sculptural objects, she means to tangibly articulate how objects, form, and light can inform how we live. Her practice is improvisational and gestural as a way to capture through form the contradiction of the stagnancy of objects and the fluidity of movement and light.

Mari-Ruth Oda is a Japanese artist living and working in North Wales. She was born in Papua New Guinea and lived in Bangkok, Tokyo, Belgrade and New York before moving to the UK. She has undertaken commissions from all over the globe and her artworks have been exhibited internationally including the Royal Academy of Arts London, Shigaraki Ceramic Cultural Park in Japan, Musée de Carouge in Switzerland and the Victoria & Albert Museum of London.

Panorammma is a furniture design atelier based in Mexico City that seeks to redefine our relationship with functional objects through experimentation with materials and form. Functionality becomes a premise for visual narratives and a medium to conceive new possibilities. ⁠

Tara Vaughan is a ceramic artist based in Stamford, Connecticut. Inspired by connections between humans and nature, her work explores shadow, balance, and asymmetrical beauty through abstract forms. Her work blends the themes of connections found in nature as well as our connection to the female form.

Yoona Hur is an artist currently based in New York City. She was born in Seoul but grew up in various cities across Canada and the United States —the desire to deepen her Asian identity and spirituality drove her journey as an artist after working as an architect for several years. Although she spent most of her life in the West, Korean heritage and Eastern philosophy became the root of inspiration for her ceramics and paintings. Hur preserves and reinterprets this rich cultural lineage: the full breadth of Korean ceramic history, from ancient ritualistic earthenwares to the iconic Moonjars (dalhangari) from Joseon Dynasty that embody both Buddhist and Confucianist concepts. Hur’s paintings are composed of Korean mulberry paper Hanji which was used in traditional houses (hanok) as architectural elements and for literary artifacts. She also takes inspiration from the modern Korean painting movement called Dansaekhwha — becoming one with nature through the act of repetition and being sensitive to materiality and time was the defining philosophy of the works.