A French Cancan dancer performs in front of the Moulin Rouge cabaret during celebrations marking the restart of its iconic windmill with red sails, in Paris, France on July 10, 2025. (Photo by Tom Nicholson/Reuters)

A Palestinian carries children as wounded Palestinians receive treatment at Al-Aqsa Martyrs Hospital, after an Israeli airstrike on a house, in Deir al-Balah, central Gaza Strip on July 8, 2025. (Photo by Ramadan Abed/Reuters)

People take part in a lowrider car show celebrating lowriding culture and supporting immigration, in San Francisco, California, U.S., September 20, 2025. (Photo by Manuel Orbegozo/Reuters)

Anthony Joshua, right, punches Jake Paul during their heavyweight boxing match, Friday, December 19, 2025, in Miami, Fla. (Photo by Lynne Sladky/AP Photo)

“These are the astonishing images of the very aptly named door to hell, a fiery crater thats baffled scientist and has been flaming away for more than 40 years. The crater is 230-feet wide and situated near Derweze village in Turkmenistan”. – Caters News. (Photo by William Keeping/Caters News)

Vadim Voitekhovitch was born in a small town of Mozyr, Belarus. He spent most of his life Belarus and he graduated from Bobruisk Art College. From 2004 he lives and works in Germany. His style is quite diverse, but he dedicates most of his time to watercolor and oil. Voitekhovitch likes to draw pictures on history subjects and especially subjects coming from XVIII-XIX centuries.

American sculptor Michael Alfano has been sculpting for over fifteen years. A native of New York, he now lives and works in Hopkinton, Massachusetts. His major influences are Salvador Dali, Jo Davidson, and Jean-Antoine Houdon, as well as Buddhist, Taoist, Sufi and other eastern philosophy and literature. He first studied at the Art Students League of New York, with an emphasis on life-size sculpture from the model. His formal education continued at Boston University and was augmented by internships with several prominent sculptors.

From a height of three meters, porcelain figurines are dropped on the ground, and the sound they make when they hit trips the shutter release. The result: razor-sharp images of disturbing beauty—temporary sculptures made visible to the human eye by high-speed photography technology. The porcelain statuette bursting into pieces isn't what really captures the attention; the fascination lies in the genesis of a dynamic figure that replaces the static pose. In contrast to the inertness of the intact kitsch figurines Klimas started out with, the photographs of their destruction possess a powerfully narrative character.