Born in 1979, and based in Brighton and London, Lyddon's whimsical tableaux owe clear allegiance to early Hockney and, to a lesser degree, Bacon.
Like these artists, the energy of Lyddon's compositions is focused into dynamic rendition of human form. Techniques including scumbling, collage and a combination of detailed and rudimentary drawing imbue her cast of sympathetic grotesques with vitality and movement as, like some multi-armed Shiva, they posture impossibly in simultaneous gesture.
Lyddon's dramas, enacted within spacious grounds punctuated with delicately rendered props, are as much about the evocative potential of technique as the narrative moments they relate.
Brazilian artist Lara Viana's wistful canvases vacillate between tentative accounts of the everyday and carefully staged tableaux. Often empty of protagonists, the proximity of participants is frequently implied, by, for example, tables laden with half-eaten food.
Viana's application of paint has become increasingly fluid, a controlled liquidity that lends her work a coiled energy and psychological depth.
Despite the languid appearance of her subject matter, Viana's approach to painting asserts an immediacy which contrasts well with her quietly contemplative studies.
Born in 1982 in the UK, Sebastian Dacey now lives and works both in Berlin and Munich.
Dacey's work is a mixed bag of styles and format, yet his approach to painting is uniformly exuberant, a gestural abstraction characterised by daring combinations of strong colour and energetic resolution.
Single motifs isolated on monochrome backgrounds rub shoulders with richly decorative symmetries; other works, in which the canvas remains largely bare, are vigourously marked by visible signs of process: thick worms of paint applied straight from the tube, or pigment daubed and spread by the fingers.
Confidently assertive, Dacey's work provides an exciting addition to the German art scene.
An emerging artist on Romania's acclaimed new art scene, Veres Szabolcs' highly-charged, expressionistic works meld subject and object into barely distinguishable, frequently disturbing new form.
Often working in series on large canvases, Szabolcs adopts themes that are typical of the Romanian classical canon, such as hunting scenes, portraiture - or even a combination of the two (left and below, 2009).
Reworking these precedents into fractured compositions, his work questions the authority of both past and present in a style that thrusts the academic realism typical of Romanian contemporary painting into exciting new territory.