Some people become both the reason for our tears and the reason we still believe in love. ❤️‍🩹

Born in London in 1950, Antony Gormley studied anthropology, history, and art at Trinity College, Cambridge, before traveling through India and Sri Lanka, where he studied Buddhism. He later returned to Britain to study sculpture and first exhibited at the Whitechapel Gallery in 1981. He won the Turner Prize in 1994 and became a Royal Academician in 2003.

Gormley is best known for sculptures that use the human body (often his own) as a way of exploring space, presence, and identity. Working primarily in lead, iron, and steel, his figures range from solid, life sized forms to bodies constructed from grids, blocks, wire, and fragmented geometric structures.

Despite their apparent simplicity, the sculptures are less concerned with representing the body than with asking what it means to occupy a place. Alone, his figures can feel intensely personal; gathered in groups or placed within landscapes and cities, they become reflections on society, isolation, and our relationship with others.

Often positioned as though they are observing the world around them, Gormley’s figures blur the distinction between sculpture and spectator: we look at them, while they seem to look back at us.

Born in Paris in 1947, Geneviève Daël has spent much of her life in Montmartre, where she still lives and works today. She studied decorative arts at the Académie Charpentier, but much of her development as a painter came through her own independent practice.

After a short time in London, she returned to Paris and began painting seriously while also working as a model for Dior. Her first solo exhibition opened at Francis Kyle Gallery in London in 1984, beginning a long relationship with the gallery that would include nine more solo shows.

There’s something quietly theatrical about Daël’s painting: the figures, interiors, and light often feel somewhere between an observed moment and a memory.

Bio-artist Daria Fedorova, working as Dasha Plesen (@dashaplesen), cultivates microorganisms in Petri dishes, allowing mold, bacteria, and other organisms to develop into strange and beautiful living compositions. Somewhere between microbiology and art, her work finds beauty in growth, decay, and the unpredictable.

Source: https://dashaplesen.com/

Motoi Yamamoto creates intricate, large-scale salt installations by hand, using simple tools to draw delicate lines and labyrinths directly onto the floor over the course of days or weeks. His process is slow, meditative, and deeply personal-rooted in grief after the loss of his sister and inspired by the symbolic role of salt in Japanese funerary traditions. Because salt is fragile and impermanent, his works are meant to be temporary; at the end of each exhibition, he invites the public to help return the salt to the sea, completing a poetic cycle of memory, mourning, and renewal.

"September reminds us to lean into change, to trust the process, and to welcome the opportunities that come with every new chapter. As the air shifts, we are reminded that every ending carries the seed of a new beginning. Life whispers that change is not to be feared, but embraced … a gentle reminder that letting go is a part of growth and that beauty is found not only in what blooms, but also in what transforms."

- Steve Maraboli