Grey Cube Gallery proudly presents the sixth Monochrome online art show for the month of July 2026. The show encompassed a range of artistic styles and mediums (acrylic, graphite, charcoal, oil, watercolor, digital collage, photography, pastel). Each submission has been judged based on the following elements of artistic expression: orginality and quality of art, overall design, creativity, interpretation of the theme, demonstration of artistic ability and usage of medium. Out of all entries, 78 artworks were shortlisted for inclusion in the show. The competition attracted entries from many countries across the world: USA, UK, Canada, Switzerland, Taiwan, Australia, Germany, Hungary, Ireland, Sweden and Netherlands. Enjoy the show and thank you for expressing an interest in our competition.

Grafik Archistruct interprets various states of abandonment and vacancy occurring in rural towns across America in order to bring more awareness to urban decay. With a focus on structural abandonment and vacancy, Grafik Archistruct fosters a deeper awareness for built environmental urban decay. How can we become more conscious and aware of our surroundings? How can we create more discourse and dialogue in American abandonment and vacancy? How can we spark conversations with our community and take action to revitalize underused, abandoned and forgotten buildings? Using Google Street View to discover identify and document, Grafik Archistruct focuses on spreading awareness through social media, virtual and physical exhibitions. Within each identified rural town, case study buildings are carefully selected based on their notable history and location, in contrast to their current state of abandonment. Each case study building includes a written narrative that accompanies dynamic dimensional imagery. These written narratives share detailed information about the city, building, past tenants, uses and historical documentation. Although the abandoned buildings across our country are forgotten now due to changes in consumer behavior supporting local businesses, shifting of American economics and decreasing population in smaller towns, there is still potential life and uses left. How can we become more conscious and aware of our surroundings? How can we create more discourse and dialogue in American abandonment and vacancy? How can we spark conversations with our community and take action to revitalize underused, abandoned and forgotten buildings?

Emily Copeland is a Canadian artist specializing in realism, working primarily in charcoal to recreate objects on a larger-than-life scale. Central to her practice is the concept of mimesis—the act of closely imitating reality. Her goal is to replicate her subject matter as precisely as possible, emphasizing both technical skill and visual accuracy. She is particularly drawn to vintage and retro objects, selecting subjects rich in texture, history, and a sense of nostalgia. By enlarging these objects beyond their natural size, Copeland creates a surreal viewing experience that reveals intricate details often overlooked at a normal scale. Placed against clean, minimal backgrounds, these objects are recontextualized, bridging the past with a contemporary aesthetic while evoking memory and familiarity. Rather than assigning fixed meaning to her work, Copeland intentionally leaves each piece open to interpretation. She believes that art should invite personal reflection, allowing viewers to form their own connections and nostalgic associations based on individual experience. Through her evolving series, Copeland aims to engage a wide audience, using familiar objects to evoke nostalgia while offering a fresh and intimate perspective.

Patsy Lindamood is a self-taught graphite artist whose creative journey began later in life and has evolved into a distinctive voice in representational art. Initially focused on wildlife, her subject matter now spans a diverse range of “scapes”—from rugged workboats and wading birds to grain silos, abandoned homesteads, and architectural landmarks such as courthouses and cathedrals. Balancing a career in finance and technology with her artistic pursuits, Lindamood has built an impressive body of work that reflects both technical mastery and a deep appreciation for form and texture. Her achievements include Non-Resident Artist membership in New York City’s historic Salmagundi Club and signature memberships in the International Guild of Realism, American Artists Professional League, Allied Artists of America, American Plains Artists, Society of Animal Artists, and Artists for Conservation. In 2024, Lindamood was honored as Rockport Master Artist, culminating in a solo exhibition, Rockport Coastlines, at the Rockport Center for the Arts in Texas. Her graphite work Cathedral of the Madeleine earned Third Place in International Artist Magazine’s Art Prize Challenge No. 143 (Cityscapes), and her pieces have repeatedly been recognized as finalists in the prestigious ARC Salon Competition. She also received an Honorable Mention for Shadow Play in the 2025 Almenara Prize, with multiple other works included as finalists, and has been a finalist in Strokes of Genius for five consecutive years. Working exclusively on cradled Ampersand Claybord, Lindamood applies graphite in a painterly manner, a technique inspired by her earlier experience with pastels. She believes compelling graphite art demands strong composition, dynamic shapes, and a full range of values to create depth and dimension. Through this approach, Lindamood transforms a monochromatic medium into works of striking realism and emotional resonance.

Jason Shih was born in 1972 in Taiwan. In 1991, he began to specialize in metal sculpture when he was a sophomore in the Fine Arts Dept. of Taipei National University of the Arts. In 2001, he graduated from School for American Crafts, Rochester Institute of Technology, USA, and majored in Metal Sculpture. And then, he served as the metal sculptor Albert Paley's assistant, involved in crafts and public art work practices. Furthermore, he earned his Art Ph. D. from China Academy of Art, China (2015). Now, he lives in Taiwan, and consistently engages in the both areas of sculpture and public art. Jason Shih’s artistic vision is shaped by a diverse array of influences, from contemporary dance to avant-garde fashion. He cites German choreographer Pina Bausch and British designer Alexander McQueen as significant inspirations. Bausch’s explorations of time and space resonate with Shih’s interest in sculpture’s capacity to embody kinetic energy and spatial imagination. McQueen’s innovative approach to contemporary imagery and themes provides Shih with a broad canvas for creative expression. Shih’s work is also influenced by the aesthetic principles of Futurism and Constructivism, movements that emphasize dynamic energy and continuous motion. These influences are evident in his pursuit of capturing the beauty of movement and the elegant restraint of natural forces. Shih’s sculptures often depict moments of defying gravity, capturing the fleeting beauty of motion in a static form. As a professional sculptor, Jason likes to experience the taste of life with perceptual observation in the subtle moments, and also likes the ever-changing situation of game shapes in the poetic imaginary space. For Jason, art creation is to share various moods and stories in daily life.