Expose 4 committee
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 dvisory board

EXPOSÉ 4 is judged by an internationally acclaimed panel of artists and creative directors. From a selection of over 5,000 entries, the advisory board agonised over the multitude of excellent artwork. From this, 317 of the best artworks were chosen.

See the best to be the best. Own your copy of EXPOSÉ 4 today.

Jinko Gotoh - has more than 20 years experience working in as a key producer in the CGI Industry her recent screen credits include Associate Producer at Pixar for ‘Finding Nemo’ and Director of Digital Production at Walt Disney Feature Animation. Some other credits include key roles on ‘Space Jam’, ‘Dinosaur’ and ‘Fantasia 2000’.  Currently, Jinko is producing ‘Opus’ for Dimension
Christopher Sloan - www.ngs.org - is the Art Director for the National Geographic Magazine, commissioning non-photographic art, illustrations and diagrams for the magazine. Sloan is also the magazine’s specialist in paleontology and paleoanthropology, writing articles for National Geographic including ‘Feathers for T. rex’ as well as several award-winning children’s books.
Lorne Lanning - www.oddworld.com - is President/Creative Director and Co-Founder of the award-winning video game development company Oddworld Inhabitants. He serves as a member of the Visual Effects Society, the Wired Brain Trust, as well as the Executive Vice Chairman of the Academy of Interactive Arts and Sciences (AIAS).
Dan Curry - www.startrek.com - is VFX Producer/Supervisor for ‘Star Trek: Enterprise’. Dan has worked on the ‘Star Trek’ TV series since 1987, first as visual effects supervisor on ‘Star Trek: The Next Generation’, and then as Visual Effects Producer on ‘Star Trek: The Next Generation’, ‘Star Trek: Deep Space Nine’, and ‘Star Trek: Voyager’.
Linda Bergkvist - www.furiae.com - is an award-winning artist from Sweden and a co-author of d’artiste Digital Painting. Though she studied English with the intention of becoming a teacher, Linda cut her studies short to work as an illustrator. She now spends her time as a part-time teacher of Photoshop at a local university and as a freelancer.
Jeff Mottle - www.cgarchitect.com - is President and Founder of www.CGarchitect.com and is the Creative Director—North America for Smoothe, an award winning design firm based in London, Manchester and Calgary. Jeff has also worked for SMED International, one of the world’s largest construction industry leaders.
Sharon Calahanwww.pixar.com – is Director of Photography at Pixar Animation Studios. She joined Pixar Animation Studios in 1994 as lighting supervisor on the studio’s first feature film, ‘Toy Story’. She then served as director of photography on ‘A Bug’s Life’, ‘Toy Story 2’ and ‘Finding Nemo’. Sharon studied graphic design, illustration and photography.

Mu Chunxi - www.tencent.com - is a 2D artist and graphic designer for Tencent Computer Systems Limited. He has worked as a columnist for several art and design magazines including ‘Fantasy’, ‘Amazing Files’ and ‘Art & Design Digital Design’. Mu studied Mechanical Engineering at Jiin University.

Chen-Yi Chang www.disney.com - is a Story Artist, Visual Development and Character Designer at Disney Feature. Among his many Disney credits are Story Artist for ‘My Peoples’ and ‘Home on the Range’, Character Design on ‘Atlantis’, Artistic Supervisor/Character Design for ‘Mulan’ and Visual Development for ‘Mulan’ and ‘Tarzan’. Chen-Yi has won a number of notable art/animation awards in the US and Taiwan.
Robin Cooper www.pixar.com - joined Pixar Animation Studios in February 1995 as a digital painter on the studio’s first feature film, ‘Toy Story’. She served in the same capacity on the studio’s subsequent feature films, ‘A Bug’s Life’, ‘Toy Story 2’, and ‘Monsters, Inc.’, and thereafter transitioned into texture design and art direction on ‘Finding Nemo’. She also served as an art director on the studio’s upcoming short film, ‘One Man Band’. Prior to joining Pixar, Robin worked as a set designer, scenic painter, muralist and art teacher. As a scenic painter, her credits include the feature film ‘James and the Giant Peach’.

"I wouldn't underestimate exposure - it can have value that lasts long after the money is spent. This industry (and the art world in general) is a very competitive world. The more people that see your name and art, the better your chances are of being hired for more work."
Meats Meier, artist and EXPOSÉ 1 Master Award recipient