“Locusts & Men”. Oppression, interaction, collaboration. In the life cycle of nature nothing is lost, but the coexistence of different species is sometimes difficult. In Madagascar periodically returns the archaic antagonism between man and the migratory locust, in a circle of life where the two species are looking for space and food for their survival. At the end of the day a man walks home carrying on his shoulders the heavy bag which contains the locusts captured during the day. The insects provide nutritious meals for the man and his family. Photo location: Madagascar, 2013. (Photo and caption by Michele Martinelli/National Geographic Photo Contest)

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Allyson Anne Lamb is a Brooklyn based fine artist primarily working in photography. Her work uses the body to explore the complexity of human emotions and the continuous invisible transformations we experience, revealing them as monstrosities or fantastical beings. Through the assembling of body parts, bright colors and fictional spaces that exist in Lamb's magical realm where sexual anxiety, female identity and altered sensorial perceptions are explored, Lamb invites us to participate in an altered state of consciousness. We step in to quaint fragmented realities where we are welcomed to engage in lucid dreaming populated by colorful mutations.

Dutch artist Suzan Drummen‘s large-scale floor installations are mesmerizing and complex circular patterns made out of mirrors and brightly colored glass. The fractal-like arrangements feature ornate and elaborate circles growing exponentially out of each other and vibrant rings of spiraling colors winding into the surface of the floor. They are composed of crystals, chromed metal, precious stones, mirrors and optical glass. A sensory experience, and visually stimulating, the glittering installations play with the architecture of the space — climbing up walls and sweeping across the surfaces — examining the idea of illusion and optical effects.

People dancing to buskers performances in Sai Yeung Choi Street South in Mongkok district, Hong Kong, China, 28 July 2018. After 18 years of unregulated street performances, the street performers were forced to give up the space to vehicular traffic again. (Photo by Jerome Favre/EPA/EFE)

A racoon jumps over a fence in almost deserted Central Park in Manhattan on April 16, 2020 in New York City. Gone are the softball games, horse-drawn carriages and hordes of tourists. In their place, pronounced birdsong, solitary walks and renewed appreciation for Central Park's beauty during New York's coronavirus lockdown. The 843-acre (341-hectare) park – arguably the world's most famous urban green space – normally bustles with human activity as winter turns to spring, but this year due to Covid-19 it's the wildlife that is coming out to play. (Photo by Johannes Eisele/AFP Photo)

Figures from Antony Gormley's “Field For The British Isles” adorns an exhibition space in St Helen's College in the town of it's creation 15 years ago, June 23, 2008, St Helens, England. The installation of over 40,000 clay figures has returned to the place where it was made by local people from local clay. Artist Antony Gormley describes his creation as “25 tons of clay energised by fire, sensitised by touch and made conscious by being given eyes ... a field of gazes which looks at the observer making him or her its subject”. (Photo by Christopher Furlong/Getty Images)

Gohei Hayashi of Kyoto University is seen in side his movable eco and healing house, “Kujira (Whale) House” July 21, 2007 in Tokyo, Japan. The house is made from Japanese paper, bamboo and tatami mat. Hayashi has travelled 500 km from Japan's ancient city, Kyoto to Tokyo with his eco house to promote his house which can be placed both out inside and outside to provide a private space. The Kujira house is available at the price of 800,000 yen (roughly US$6600). (Photo by Koichi Kamoshida/Getty Images)