artist-talk-magazine

Who Are You When the Labels Disappear?

Sun, 26 Apr 2026 18:52:51 GMT

Who Are You When the Labels Disappear?

Inside SS21.art, a generative installation that asks you to give up your name

By SS21.art Team - Nazlı Derya Öztürkmen & Merve Güven Özkerim & Begüm Tarako

Think about your name for a moment. Not what it means, not who gave it to you, but what it does. Every time you book a flight, sign into an app, or fill in a form, your name becomes something else entirely. It becomes a data point. A variable in a system that classifies, predicts, and tracks you without asking permission.

This is where SS21.art begins.

SS21.art is a generative installation built around a deceptively simple proposition: what if you could temporarily let go of the name you were given and choose a new one? Not as a game, not as escapism but as a conscious, deliberate act. An act that asks you to confront how deeply your identity is shaped by systems you never opted into.

The experience takes place inside a black cabin, a small, enclosed space designed as what we call an anonymity chamber. The reference is deliberate: it recalls the intimacy and the weight of a confessional booth. You step inside, alone, and the outside world disappears. What remains is you, a screen, and sound.

On the screen, a manifesto greets you. Not a wall of text to read and forget, but a visual unraveling, an animation that breaks down the idea of a given name into fragments of code and data. It is a mirror, of sorts. It asks you to see your own name the way an algorithm sees it: as an input, a category, a prediction.

Then comes the choice. You can accept a code name generated randomly by the SS21.art platform by chance or you can compose your own, building a name that belongs to no database, no classification, no history. This is not a username. It is not a pseudonym for a social media account. It is a moment of decision about who you want to be, even

if only for a few minutes.

And the cabin responds.

The moment you claim your code name, everything changes. The sound that has been surrounding you, a continuous, rotating sonic layer we call the manifesto loop, quietly pulls back. In its place, a unique sound composition emerges: a combination of textures drawn from a pre-built archive, assembled in real time, distributed across three speakers arranged in a triangle around your body. The sound is directed at your chest, your waist, your skin. You feel the Reveal.

Each Reveal begins closed and intimate, a low-pass filter keeps the frequencies tight, the space small. Then the filter opens. The spectrum expands. The room grows. It is the sonic equivalent of stepping out of something old and into something unnamed. And it lasts exactly ten seconds and then the manifesto returns.

The combination of textures, the timing, the way the sound moves through the space, it is generated once, for you, and it will never be repeated in exactly the same way for anyone else. Your code name appears on the screen. The system never speaks it aloud. Sound does not name you. Sound transforms the space around the moment you name yourself.

SS21.art does not end when you step out of the cabin. The project is also a growing community. Through monthly thematic cycles, members contribute to the platform. The team behind SS21.art brings together different perspectives. Prof. Dr. Merve Güven Özkerim, based at Giresun University, provides the theoretical and artistic foundation, drawing on critical theory, surveillance studies, and computational aesthetics to frame identity as something that is not just socially constructed but algorithmically produced. Nazlı Derya Öztürkmen, through Rastro Studio, shapes the platform's experience design, community structure, and communication strategy, ensuring that the project lives and evolves beyond any single exhibition. Begüm Tarako, through Audio Rituals, designs the spatial sound architecture, the speaker configurations, the generative textures, the low-pass filter choreography that turns a digital choice into a bodily event.

Together, they are building something that refuses to sit still. SS21.art has already been presented as part of the "Human and Machine" exhibition in Istanbul and is currently being prepared for submission to Ars Electronica's Expanded Play Gallery. The platform is live. The community is growing. The cabin is waiting.

So, who are you when the labels disappear?

Visit SS21.art today and name yourself on your own terms.

Bringing Kidney Awareness With The Canvas

Tue, 21 Apr 2026 16:36:46 GMT

In the spirit of March (last month) being Kidney Health Awareness month, emerging artist Ricky MacH donated one of his paintings to the Bahamas Kidney Association in support of the foundations’ objective.

What was the intention behind donating one of your original pieces?

Well, using art as a tool to generate awareness for a particular issue or an initiative supporting a noteworthy cause was the goal. I have been aware of The Bahamas Kidney Association for about a year now and when the opportunity came, it was an honour to do so. I am grateful to be a donor to the Bahamas Kidney Association.

Would you encourage other artists to follow suit and use their work to bring awareness to causes and institutions that they support?

Yes. I would encourage all folks - not just artists to support organisations that they are morally and emotionally aligned with. Art itself is a tool for social commentary and with this tool, we can foster a lot of positive initiatives within various environments. When an institution and an artist find this sort of common ground, the initiative itself can be a positive symbol for humanitarian efforts.

The painting, one from his 2022 collection is titled ‘Perspective’. It offers the viewer a dual visual of entities used within his expressionist concept. This is also a nod to the perspective that we all should gain from becoming more aware of the growing concern in non-communicative diseases rising within The Bahamas.

The painting went to auction at the Bahamas Kidney Association’s formal ‘Emerald Soirée’ benefit on Saturday March 28th at the Margaritaville Beach Resort. The proceeds will be used by the BKA towards their efforts of offering assistance for the prevention of kidney disease and also providing assistance to persons affected by kidney disease.

Ricky MacH b. 1996 is a self taught expressionist painter born and based in The Bahamas. He has participated in group and solo exhibitions upon the island of New Providence. He had his debut solo exhibition “The Butterfly of Imagination” on August 29th, 2025 and a booth at the 2026 Bahamas National Trust Wine & Art Festival. His work has been sold via art gallery, private sale and auction.

View more of his work on his website: artist.ricky-mach.com or instagram: @rickymachofficial

Matt Eley

Wed, 15 Apr 2026 13:11:16 GMT

1. As a young person, what did you imagine your future might look like and when did creativity first feel like more than just something you enjoyed?

As a young person, I always imagined a future that was visually driven, though I did not yet have a language for what that meant. I knew I was drawn to making things, arranging, refining, shaping, but for a long time creativity felt like an instinct rather than a destination. It became more than just enjoyment when I realised I was using it to make sense of the world, not just decorate it. At that point it became a way of thinking and processing, so from my early teens I geared my education towards navigating a path to being a full-time creative.

2. Typography has long featured in your work. Do you remember when words, letters, or visual language first began to resonate with you emotionally?

Words, numbers and letters resonated with me before images did. I became aware early on that language could wound, comfort, define, or distort, sometimes all at once. Typography made that visible. Seeing how a word could change meaning through spacing, weight, size, colour and context revealed that language was not neutral. It carried emotion, power, and memory. That discovery stayed with me and eventually became central to my work.

3. Before fully embracing fine art, you ran a design agency. How did working within commercial constraints shape your discipline and eye?

Running a design agency for nearly 30 years sharpened my discipline significantly. Commercial constraints force clarity. You learn how to strip ideas down, how to communicate effectively and efficiently, how to make decisions quickly and justify them. It trained my eye to recognise balance, hierarchy and restraint. These skills still underpin my work today. Even now, that discipline acts as a structural backbone, even when the content is more emotional or unresolved.

4. What did design give you and equally, what did it limit that eventually pushed you toward a more personal artistic practice?

Graphic design gave me precision, problem solving skills, and an understanding of audience. But it also imposed boundaries around safety, legibility and approval. Global brands are very risk adverse, and over time those limits can become suffocating. I realised I was spending more energy negotiating meaning than expressing it. Fine art offered space to let ambiguity exist, to say something without needing to resolve it or sell it.

5. Your use of text often feels both precise and emotive. How do you approach typography as a carrier of feeling rather than function?

I believe typography is the fastest route to emotional engagement. Rather than asking viewers to decode images or wait for feelings to slowly emerge, I want language to confront them directly. A phrase can strike first and resonate later. In an age where words are endlessly reproduced, politicised, and skimmed on screens, I slow them down by hand painting them, giving language physical weight and presence again. I believe the emotional force of words persists. A single line of text can act as a mirror, inviting viewers to recognise their own love, loss, hope, or regret within it.

6. Was there a moment when you knew it was time to step away from agency life and commit fully to your own voice?

There wasn’t a single dramatic moment. It was a slow accumulation of friction. I noticed that my personal work carried more urgency than my professional output. Eventually, it felt dishonest to keep my own voice compartmentalised. Stepping back was not about rejecting design. It was more about reclaiming authorship.

7. Looking back, how do you think your background in design continues to inform the structure, clarity, or restraint in your work today?

Design still governs the core of my work, I think it always will. Even when the surface feels loose, raw or damaged, there is an underlying order holding it together. That tension between control and erosion is intentional. Design taught me when to stop, when to leave space, and when not to over explain. Restraint, for me, is an ethical choice as much as an aesthetic one.

8. Standing where you are now, how close does your current practice feel to the creative life you once imagined and how has that vision changed? Any upcoming exhibitions or showcases we can talk about?

I am closer now than I ever expected to be, though the vision has matured. I once imagined creativity as freedom from all limits. Now I understand it as the freedom to choose which limits matter. My practice feels aligned with that understanding. I get a huge amount of support from the gallery curators which I am grateful for. At the moment I am finishing some work for a group show at George Gallery in Brighton that opens at the end of January. I’m also preparing a small collection for Kell Art in East London. I always have a few commission in progress as well, you’d be amazed how many people have got something they want to say…

Material, Structure, and Cultural Dialogue: Yung Ching, Chang’s Exploration of Contemporary Womenswear

Thu, 26 Mar 2026 19:46:05 GMT

Yung Ching, Chang is a Taiwanese fashion designer whose practice operates at the intersection of cultural translation and contemporary womenswear. Situated within a broader discourse on identity, materiality, and form, her work examines how traditional cultural structures can be rearticulated through modern garment construction. By engaging deeply with fabric behavior and structural manipulation, Yung Ching develops a design language that negotiates between historical reference and present-day embodiment.

Central to Yung Ching’s practice is the notion of “cultural translation”—not as replication, but as transformation. Rather than preserving traditional garments as static symbols, she reconstructs them through contemporary design methodologies. This is particularly evident in her reinterpretation of the kimono, where its inherent structural logic is deconstructed and reconfigured into modern womenswear. Through the integration of innovative material applications and tailored construction, the collection challenges the boundary between heritage and functionality. Its recognition at the CLA Fashion Design Competition, followed by commercial selection by manufacturers, underscores the capacity of her work to move beyond conceptual exploration into tangible industry relevance.

Her collection Bliss Street extends this investigation into the psychological and spatial dimensions of fashion. Presented on the runway at Songshan Cultural and Creative Park in Taipei, the project situates itself within a narrative of escapism, imagination, and fragmented identity. Yung Ching’s use of sculptural silhouettes and expressive material treatments generates a visual tension between reality and constructed fantasy. In this context, garments function not merely as wearable objects but as carriers of narrative, inviting viewers to navigate between familiarity and estrangement. The project’s circulation across multiple fashion media platforms further situates it within a broader cultural conversation.

In contrast, Crown Yourself foregrounds material experimentation as a primary mode of inquiry. Drawing from the visual codes of European formalwear, the collection destabilizes conventional notions of fabric by incorporating unconventional substances such as gelatin. This deliberate disruption of material expectations repositions fashion as a multisensory medium, where tactility, temporality, and fragility become integral to the design process. By constructing both womenswear and menswear pieces within this framework, Yung Ching interrogates not only material boundaries but also the relationship between body, garment, and perception.

Across her professional trajectory, Yung Ching’s engagement with the fashion industry further informs her design methodology. Her experience at Santa Fe Apparel, where she contributed to leather outerwear design, deepened her understanding of material resistance, durability, and structural integrity. At JACHS NY, particularly within the JACHS Girlfriend womenswear line, she participated in the development of contemporary collections that respond directly to market-driven aesthetics and consumer behavior.

Her involvement with DREAMWEAR, contributing to brands such as Laura Ashley, Danskin, BLISS, and Nicole Miller New York, introduced her to the operational scale of commercial fashion systems. Working across concept development, color direction, technical flats, and BOM processes, Yung Ching navigates the translation of creative ideas into manufacturable outcomes. This dual engagement with both conceptual and industrial frameworks enables her to operate within a space that bridges artistic experimentation and production logic.

Within the context of contemporary fashion discourse, Yung Ching’s work can be understood as part of a broader shift toward material-conscious and structurally driven design practices. Her garments resist purely decorative readings, instead emphasizing construction as a site of meaning-making. Through this lens, fabric is not treated as a passive surface, but as an active agent that shapes form, movement, and perception.

Ultimately, Yung Ching’s practice positions fashion as a medium of cultural and material inquiry. By reconfiguring traditional forms through contemporary womenswear, she constructs a dialogue between past and present, body and structure, reality and imagination. In doing so, her work not only redefines the parameters of garment design but also contributes to an evolving understanding of fashion as a critical and expressive discipline.

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Instagram: @sunny_matcha1

A quiet moment by the water,where time slow down

Thu, 29 Jan 2026 13:05:49 GMT

“A quiet moment by the water,where time slow down”.

The place I call home.

S.Spirito(Puglia).

This photograph marks my first publication.A milestone filled with gratitude and emotion.

Exploring Symbolic Space and Consciousness in the Work of Ramsay Allan

Tue, 27 Jan 2026 20:50:16 GMT

Scotland-based oil painter Ramsay Allan creates symbolic and surreal compositions that explore the inner landscape of the human experience. Blending classical oil painting techniques with dreamlike environments, his work moves beyond surface appearance and into the psychological and spiritual dimensions of being.

Rather than depicting the world as it is seen, Allan paints spaces that feel remembered, imagined, or inwardly perceived. His figures often appear suspended within vast symbolic settings — environments that suggest memory, consciousness, and the unseen forces shaping human life. Light, space, and atmosphere become narrative tools, guiding the viewer into a contemplative state rather than a purely visual one.

At the heart of Allan’s practice is an interest in consciousness, presence, and the human journey . His paintings do not provide fixed answers, but instead invite reflection. Each work becomes a visual meditation — a meeting point between the outer world and the inner one.

Featured Works

Utopian Dream II
Oil on canvas
This painting presents a surreal landscape that feels both expansive and intimate. The environment suggests a dream state — a place where memory, imagination, and perception merge. The figure within the scene becomes a quiet witness to this symbolic space, representing the human presence navigating inner reality.

Utopian Dream III
Oil on canvas
Continuing the series, this work deepens the exploration of psychological space. Light and distance create a sense of spiritual atmosphere, while the composition evokes the feeling of being between worlds — neither entirely physical nor entirely imagined. The painting reflects Allan’s ongoing investigation into how the mind constructs meaning through image and symbol.

Ambassador II
Oil on canvas
In this figurative work, the human presence becomes more direct. The figure stands not simply as a portrait, but as a symbolic “ambassador” between inner and outer realities. The painting explores identity, awareness, and the quiet role each individual plays within the larger human story.

Process and Approach

Allan works primarily in oils, using layering and glazing techniques rooted in traditional painting practice. He is particularly attentive to the role of light — not only as a visual element, but as a symbolic one. Atmosphere, colour harmony, and spatial depth are carefully developed to create environments that feel immersive and contemplative.

Ideas often emerge gradually, shaped by reflection, dreams, and philosophical thought. Rather than illustrating specific narratives, Allan allows meaning to develop organically within the painting process, trusting the symbolic language of image and form.

About the Artist

Ramsay Allan is a contemporary oil painter based in Scotland, UK. His work explores symbolism, human consciousness, and the spiritual dimension of lived experience. Through figurative and surreal compositions, he seeks to create paintings that resonate emotionally and invite viewers to pause, reflect, and reconnect with deeper aspects of themselves.

Website: https://ramsayallan.com
Instagram: @ramsayallanart

IT’S TIME

Fri, 19 Dec 2025 16:49:03 GMT

IT’S TIME

Performance by Sofia Mobilia

Sat, July 12, 2025 | 4 PM (STR) / 7 AM (CA)

In the courtyard of the Academy of Fine Arts in Stuttgart, I’m in the middle of a conversation with friends and fellow students when, at 3:55 pm, my phone alarm rings - the starting shot of my performance.

I’m dressed simply in black shorts and a black top. With me, I carry a bag of clothes and a portable speaker. Through a VPN connection to California, I tune in to the San Diego radio station I listened to throughout my two exchange semesters there.

While the radio fills the courtyard, I unpack pieces from my California bag – clothes I wore in San Diego – and put them on, one after another: my San Diego State University shirt, my vintage corduroy pants, the cowboy boots I danced in at line-dance nights, my 80s leather jacket, and finally the sailing cap from my host mum’s regatta, paired with the sunglasses I picked up on a road trip through Arizona and Utah. This was the exact outfit I last wore on the streets of California in late May – complete, of course, with my beloved analog film camera.

But what is really happening here? The title of the performance leaves room for multiple interpretations.

It is time to get up – quite literally. With the nine-hour time difference, it’s morning on the other side of the world: the moment to wake up, get dressed, and start the day. But also, in a metaphorical sense: life goes on. Returning home after building new structures, routines, and personal growth abroad is never seamless. And yet, the transformation persists day by day – within oneself, through memory, souvenirs, and the skills and knowledge acquired. Old and new merge into something else. A running-on process.

The desire to go back – to book the next flight – or simply to close one’s eyes and listen, to feel the warmth of textures, to drift. Thoughts jump between realities. Emotions shift over time. Does homesickness drift away? Letting go and holding on, in constant alternation. Saying goodbye while arriving anew.

Often, we slip back into our memories without anyone noticing. Here, the audience notices. But only those who know my story truly understand what is happening. For others, it might feel confusing, even uncomfortable, to witness personal thoughts and feelings made visible in public space.

When is something performed, acted?

Almost always. We hide behind smileys in text messages, even in face-to-face conversations, pretending to feel what is expected of us.

Except in that one moment – when I let myself fall, Fall into the Sun . It’s the title of my favorite song. A song I switched to after finishing dressing. A song I played endlessly during my stay, one I even heard live in California.

This performance was also a process to move through my inner feelings, accepting them, and showing them as they are – regardless of what friends, family, professors, colleagues, or strangers of all ages might think.

And what happens after someone interrupts by switching off the speaker?

That’s when I open my eyes and, for the first time since the beginning of the performance, meet the gaze of my audience.

In a society where time is such a dominant force, this performance deliberately takes its time. It slows down, becoming a space for processing and transformation – both emotionally and temporally. The form mirrors the content. And for a final twist, the documentation is set to play again in California.

Website: www.sofiamobilia.com

Instagram: sofiamobilia.art

E-Mail: sofiamobilia@web.de

Defamiliarization and Surrealism: Contemporary Artist Wen-Ying ‘Jonah’ Yang's Visionary Odyssey Through Colour and Composition

Fri, 21 Nov 2025 14:18:27 GMT

Artist Wen-Ying Yang (Jonah Yang), a cutting-edge Taiwanese Contemporary Artist residing in London, United Kingdom. He graduated from Kingston University London with a Master's degree in Art & Space. He has exhibited his artworks in numerous galleries and non-commercial spaces in the UK and internationally. His original large oil paintings "Starry Sky Series" caught the attention of a Chinese art direction team, leading to an invitation to reveal his paintings and create on-site in Ningbo, Zhejiang, China. As a result, His artworks have appeared and been featured on multinational art platforms in China, Singapore, Malaysia, Thailand, and Vietnam, showcasing his dedication and creative energy on a global stage.

Artist Jonah Yang takes a relatively "classical" approach to art within the diverse landscape of contemporary art. His work is delicate yet strong, intense, and sharp. I (the writer) would describe it as "It's a violet-blue lightning bolt, carrying a thunderous intensity and a haunting shadowy beauty."

Painting, as a medium of expression, inherently has some limitations. It lacks the precision of words and the immersive quality of music, with viewing angles and distances affecting its perception. However, painting holds the inherent advantage of artistic expression. Compared to narrative in text, image-based storytelling moves away from the practicality of everyday language, giving painting a more literary quality (the artistic quality of formalism). Presented within a limited space, Jonah Yang's visual language functions like quotation marks, focusing the narrative while encapsulating the tension created by the imagery.

The sense of "boundary" is unique to visual art (this painting above), serving as an anchor in time and space, like a window. Artist Jonah Yang's structural treatment of boundaries is particularly distinctive, often showing objects in his paintings with a "towering" presence.

From the perspective of "existential structure" (Existenzialien), narrative relies on the presence of a viewer. Even with the time gap between creation and viewing, paintings are somewhat made for the exhibition space. In contemporary analysis, the focus shifts from "author-centered" to "viewer-centered" perspectives, and Jonah Yang exemplifies both. His artworks are less about providing answers, but more about posing questions.

In today's artistic climate, creators emphasize prompting "viewer response," transforming from problem solvers to problem setters. His work presents narratives

that are relatively obscure, prolonging the aesthetic experience and offering viewers more opportunities for association.

"Even impossible things constantly happen in this world."

Surrealist artists are not mere dream weavers crafting illusions but re-creators who closely engage with the world. Their sensitivity and persistence defy numbness and conventions, creating works with a sense of restlessness or melancholy, which Jonah Yang's artworks best epitomize these.

In the layout of Jonah Yang’s compositions, he deliberately weakens the hierarchical relationship between elements, avoiding the conventional central composition logic. This intentional lack of premeditated composition adds immediacy and simultaneity to his artworks.

Viewing Jonah Yang's art evokes a "sense of detachment from reality" yet simultaneously stirs a "strong sense of familiar perception." This deliberate narrative strategy uses unconventional colours and textures (his precise use of purple-blue, a rare natural colour) to achieve "defamiliarization." Yet, it remains tied to everyday language (such as playgrounds, toys, cartoons), creating a "perceivable unfamiliarity" that results in scenes more dreamlike than dreams themselves, achieving a dreamcore effect.

In a poetic sense, "All inescapable dreams scatter with irretrievable memories, whether beautiful or unbearable, immersing one in the illusion of time reversing." The aesthetic of surrealist art lies in this very quality.

Wen-Ying Yang (Jonah Yang) is an innovative Taiwanese Contemporary Visual Artist based in London. He graduated from Kingston University London with a Master's degree in Art & Space.

In addition to Jonah Yang’s outstanding achievements that are mentioned at the beginning of this article, he has displayed exceptional artistic talents from a very young age, winning numerous awards. At the age of 17, Jonah Yang won First Place globally in the “Live Your Dream” International Commemorative Art Competition organized by U.S. Soroptimist, focusing on the theme of “Remarkable Women,” he stood out among all artists from 19 countries worldwide. His award-winning painting was printed and sold as charity merchandise, with all proceeds donated to international charitable organisations and institutions.

Jonah Yang's artworks have gained international attention, having been exhibited in Japan and South Korea, as well as in the UK at venues such as the Stanley Picker Gallery, The Swan Studio, and Tate Modern. With extensive exhibition experiences, he collaborated with Georgian and Luxembourg artists who visited Taiwan for a cross-cultural exhibition at VT Artsalon in 2018. He has been interviewed by KK NEWS, The Commons Daily, Mandarin Daily News, The Liberty Times, United Daily News, China Times, and World Satellite TV; his artworks are currently collected and held in the Fo Guang Shan Buddha Museum.

Recently, Jonah Yang has been invited by many schools and art institutions in the UK to share his inspiring and creative skills for art creations. He also served as a primary judge for the art competition at West Thames College in London. Moreover, although

Jonah Yang resides in London, his artworks are currently on long-term display, exhibiting at two galleries in Taiwan: The Light Art Gallery and De.Light Art Gallery.

Artist Wen-Ying ‘Jonah’ Yang’s Website:

https://wenying1996.wixsite.com/jonahyang-finearts

Artist Wen-Ying ‘Jonah’ Yang’s Instagram Art Profile:

@jonah.yang.finearts

About Art Critic – Ivan Li:

Ivan Li, a professional contemporary art critic, was born in 1994 in a military village. Graduated from the Graduate Institute of Art at the National Taipei University of Education. The art platform he operates: Taipei Art Critic

(https://www.threads.net/@shelter_artwork) has over 200,000 words of art critiques accumulated so far. Ivan Li currently serves as an editor for Art Map, which is an art magazine. (Note: Founded in 2003, Art Map is dedicated to promoting, documenting, and connecting the art and cultural activities in Taiwan, Hong Kong, Macau, and other regions. The magazine explores new knowledge in art, offering readers contemporary cultural trends and insights through accessible reporting.)

Daniel Varela

Sun, 02 Nov 2025 11:39:11 GMT

Daniel Varela is a talented Argentine visual artist and fine art photographer who immerses himself in a universe of creativity through visual expression. His passion for art and photography drives him to explore new perspectives and innovative approaches, with the purpose of capturing beauty in all its fullness.

With a dynamic spirit and a forward-thinking vision, he has ventured into contemporary art inspired by new digital processes. Through the use of advanced technologies, he has created unique and captivating works that challenge the boundaries of creativity.

His artistic production has become a source of inspiration for other creators and photography enthusiasts, establishing a valuable contribution to the world of art and culture.

Sunflower Mist

In “Sunflower Mist”, Daniel Varela unfolds a visual poetry where the feminine figure and the flower breathe within the same light. The works seem to emerge from a golden haze, as if the memory of a dream had taken shape upon the digital surface.

Sunflowers —symbols of vitality and solar passage— intertwine with faces that dwell in the threshold between wakefulness and reverie. The digital medium acquires a tactile and ethereal quality, where pigments dissolve like smoke and skin merges with petals.

The series becomes a meditation on beauty and its transience: that which blooms and fades in the same gesture. Varela translates a painterly sensitivity into the contemporary language of digital imagery, achieving a subtle balance between the organic and the intangible, between inner light and the calm of silence.

Tianyun Zhao: Gentle Rebellions in a Digital Age

Thu, 30 Oct 2025 12:29:16 GMT

London-based moving image artist and photographer Tianyun Zhao (Yano) creates works that drift between stillness and transformation, where memory becomes light and time turns tactile. Her practice navigates the intersections of image, perception, and identity, revealing how the digital age reshapes our sense of the self and the spaces we inhabit.

Drawing from Eastern philosophy and the rhythms of urban life, Zhao constructs visual worlds that exist between reality and imagination — contemplative yet quietly rebellious. Through the fusion of lens-based imagery, AI-generated fragments, and fashion-inflected aesthetics, she invites viewers into atmospheres where emotion and technology merge in a delicate equilibrium.

“I see my work as a dialogue between the visible and the invisible — a meditation on how we remember, and how we are remembered,” Zhao reflects.

Expanding the Language of Moving Image

Zhao’s practice has been presented internationally across galleries, festivals, and digital platforms. Her recent exhibitions include Field of Clarity at Photofusion Gallery (London, 2025), Broken Silence at Summerhall – In Vitro Gallery (Edinburgh, 2025), The Green Grammar Exhibition at art’otel Hoxton Gallery (London, 2025), and Fragments of the Past, Futures Unfolding at Normanou 3 (Athens, 2025). She also participated in Video Edition ArtIn as part of The Wrong Biennale (London, 2025), a globally recognised platform for digital and post-internet art.

Zhao’s work has appeared in publications such as Artist Talk Magazine (Issue 39, 2025) and Viridine Literary Issue 03 (UK, 2025), reflecting her expanding presence in both gallery and online contexts.

Stillness, Care, and the Invisible

Across projects such as They Stay When Planes Leave, By Street, and Pointed Away, Zhao turns her lens toward moments of quiet endurance and overlooked labour. A scavenger beneath a motorway, a ground worker guiding an aircraft — these figures inhabit the peripheries of visibility, becoming emblems of persistence in transient urban landscapes.

Her recent piece Journey/2.0 re-imagines the act of travel as a metaphor for consciousness, blending digital voice, AI synthesis, and poetic text to explore female authorship and narrative agency in contemporary image-making. The transformation of her own voice through technology becomes a gesture of reclamation — an evolution both personal and aesthetic.

A Philosophy of Gentle Rebellion

Zhao describes her practice as a form of “gentle rebellion” — a quiet defiance through sensitivity. In her works, time slows, and the unseen acquires presence. The interplay between organic textures and digital surfaces suggests that emotion can inhabit technology, and that tenderness itself can be a mode of resistance.

Her images invite contemplation rather than consumption, asking viewers to drift within them — to “zone out” in a space where movement and stillness coexist. Through this balance, Zhao redefines what moving image can mean in a post-digital world: not a spectacle of motion, but a meditation on being.

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�� www.tianyunzhaoart.com
�� Instagram: @zhao.tianyun

Nyll Axis

Mon, 27 Oct 2025 13:45:07 GMT

Nyll Axis is the pseudonym of an artist who prefers to remain incognito. His paintings emerge as nameless presences moving through shifting layers of perception. There are no stories, no time — only appearances and disappearances. What remains are abstract glyphs with the illusion of meaning: thresholds, lines, dissolving architectures. These are not narratives but signals, pointing beyond knowledge toward the vanishing wall of the self.

Swimming Pool Series

The Swimming Pool triptych is a meditation on fragile balance — the longing to know ourselves in infinity and the resistance that keeps us bound to form. Like a resort in the wild, it becomes a metaphor for safe transcendence: a mental “sandbox” where infinity can be approached without the loss of security.

The swimming pool becomes the ocean in miniature — a fragment of chaos contained, an invitation to immerse in controlled dissolution. Within this space, human figures drift and pause, drawn toward something larger yet held back by the instinct to preserve form. The cypress rises as a mythic axis, bridging earth and sky, while above, clouds shift and dissolve — eternal, elusive, never still.

Hollow Mountain

Tue, 30 Sep 2025 12:28:01 GMT

Ziyi Huang is a Chinese oil painting artist. His recent works are mainly landscapes inspired by his travels. He received Bachelor's and Master's degrees from China Academy of Art, where he is now studying for a Doctoral degree. He participated in an artist residency at Cité Internationale des Arts in Paris, France from 2018-2019, and studied at Maryland Institute College of Art in Baltimore, USA as an international exchange student in 2024. His paintings have been exhibited in China, Japan, France, UK, Canada, Italy and Latvia, and he has held solo exhibitions in Hangzhou and Xiamen, China. He is a member of the Federation of Canadian Artists (FCA), International Council of Visual Arts (ICVA), 90' Creative Art Society, Zhejiang Artists Association and Zhejiang Association of Oil Painters.

Ziyi’s Hollow Mountain series was inspired by the scenes he saw while riding the cable car at Qingcheng Mountain. In modern urban life, people are increasingly alienated from nature, and our understanding of it is often stuck in concepts or fast-food-style image browsing. The only time Ziyi could have a more complete experience of nature was when he goes inside it in person. The valley's midair was filled with fog, as if it was an ambiguous zone between being and nothingness. It was not the same as the Greek experience described by Heidegger, but it could still become another Eastern implicit expression of the clearing - concealing cycle of nature that operates as "emergence". The hazy landscape was constantly changing and flickering, yet maintaining some kind of constant order. It reminded him that nature is not just a cold background, it is from the same higher origin as humans. In this sense, humankind and nature are equal creatures, with more or less traces of the divine.

Ziyi used less paint and more oil in Hollow Mountain series to preserve the vivid traces of brushstroke. At the same time, he adopted a lower purity and simpler color pattern. The rhythmic and ethereal atmosphere of the hollow mountain contains infinite richness, which constantly triggers his instinctive urge to paint. By repeatedly depicting the same theme, he hopes to gradually approach the mystery suggested by nature as General Revelation.

Website: https://www.huangziyi.com

Email: joeyart@163.com

Instagram: @joeyart123

Daniel Agra

Sun, 07 Sep 2025 17:27:15 GMT

Daniel Agra is Spanish artist of abstract and fine art photography. In the artistic field his work is defined as subjective, experimental and conceptual expressionist visual poetry, with a profound imaginative capacity and endowed with strong intuition. Defined by a resounding individual and experimental personal mark that allows him to mentally project a great deal of his compositions with a language and style full of symbolism.

The defined perception and emotional depth of his work should be highlighted reflecting his interest in the subconscious, abandoned methods, dialogues and conventional and traditional photographic narratives which transcend their state to be symbolised in a deep analysis, to be recreated into a poetic frontier between the material and the spiritual, between man and the environments he inhabits, distinctive elements that emphasise the communicative character in his allegorical symbology and relative to the inner world, raising it to levels of evocative spirituality in transcendental and vindictive themes, on the existential importance of the individual in his creative freedom, a personal form of contemporary expression that does not bow to the established norms, an archetype through a vocabulary with meticulously selected images and iconographies.

Over time, his works have achieved wide appreciation, recognition and international dissemination. The more than 50 awards and international honour mentions of photography that he has achieved during his career should be emphasised, he has shown his work and participated in exhibitions across various countries, as well as published in assorted media and international art guides. His work can be found in national and international museums, foundations and private art and photography collections.

Cloudscapes

The stuff dreams are made of, they are the imaginary of the sky with its disfigured, tumultuous and scattered past, but to encompass them you have to look up and begin the journey to the place where the forms of the world are deposited, a canvas to see more beyond a limitless horizon, and thus magic makes an eternity out of nothing, forming an inseparable part of the reality of life, connecting the seemingly unconnected when kissed by light, desire and emotion change the world and possibilities become limitless, becoming the eye of the soul, making us infinitely more human.

Other texts, narratives or aphorisms for Cloudscapes

“Cloudscapes is the poetry of a world unveiled with delicacy and beauty, an intersection and manifesto of sensitivity and creativity as a powerful catalyst and counterbalance to conventional visual photographic narratives, a proclamation of the gaze in its fullness, where light, time, and emotion are exquisitely intertwined, where each perspective is unique and unrepeatable, and each composition is an act of revelation.”

“Wind chimeras a marvellous portal for imagination and creativity, but what truly matters is to feel its momentum, strength, and direction, which you will discover by rising and seeing beyond the horizon”

“Essence and beauty hold the virtuosity of abstract forms, a fluid and allegorical subtlety created by light, allowing us to see and express that which is sometimes unexplainable through conventional photographic language, this unleashes creativity, exploration, and progress a refuge of intelligence and the generating principle for the flourishing of individuals, society, and the world all aligned and bound to a conformist visual and intellectual tradition.”

“Our essence and our biology, from the microscopic to the vast magnitude of the stars, are interconnected with creativity and emotions. We are a portion, a fractal, a sprout of the universe and of creation. We are pure energy, that is why the role of the artist is to pose questions, not to answer them, because it is not about what we see it’s about what we help others see.”

Mary Joy Manuel

Sun, 10 Aug 2025 10:54:13 GMT

This ten-piece body of work, created on fine art paper (21 x 14.5 cm), explores the emotional and societal tensions that shape our collective experience. Using acrylics, graphite, and charcoal pencils, each painting captures dynamic movement through vibrant palettes—juxtaposing warm and cool tones to evoke contrast and conflict. Black graphite and charcoal lines cut through the compositions like fractures, symbolizing resistance, boundaries, and the desire to break free from imposed limitations. The negative space, softly blended with graphite, adds depth and quiet intensity, while ghost markings—my signature underpainting technique—linger beneath the surface, hinting at unseen histories and layered emotions. These subtle traces speak to the persistence of memory and identity, even when obscured.

What makes this series particularly special is how unexpectedly it emerged. I wasn’t planning a new body of work. I was simply relaxing, watching the news, and absorbing the rising societal tension in the United States. As someone with a bachelor’s degree in political science, these moments of unrest are more than headlines—they’re living case studies, rich with complexity and emotion. Translating that tension into visual language felt instinctive, almost like a calling.

Each piece is a reflection of that moment: spontaneous, raw, and deeply personal. It’s a reminder that art doesn’t always come from planning—it often arrives when we’re still enough to feel.

Sahar Hasan: Artist and Curator

Fri, 25 Jul 2025 19:44:02 GMT

Sahar Hasan is a artist and curator whose work brings hidden emotions and overlooked stories into view. Her practice moves between painting, mixed media, and curation, always tracing the quiet spaces where memory, identity, and heritage meet.

Her paintings center on women — their unspoken fears, restrained hopes, and unseen strength. Using oil, acrylic, gold leaf, stained glass, and old textiles, she layers fragments that carry echoes of her roots and the silent weight of distance. Arabic calligraphy flows through her work as a living language that binds thought and form together.

Working between cultures, Sahar’s art balances tension and stillness. She believes a single figure, a fragile pattern, or a word left unfinished can speak what speech cannot. Her surfaces invite the viewer to pause and find their own hidden reflections.

As a curator, she builds spaces that hold other artists’ voices with care. For her, art must open questions, connect generations, and honor the fragile stories that survive time and place.

Each piece asks us to face what we keep hidden and what we leave behind.

Victoria Moses: Grand Era

Thu, 24 Jul 2025 17:54:24 GMT

Victoria Moses: Grand Era

Victoria Moses, born in Hamburg, Germany, in 1990, is a student at the Art Academy Hamburg, where she engages with diverse artistic media, including painting, sculpture, and digital art. Her work is characterized by a profound exploration of perception and identity search, focusing on the relationships individuals establish within society. Through her use of both vivid, figurative oil paintings and monochromatic charcoal drawings, she examines how people integrate or distance themselves in various social contexts, adopting different roles that shape their self-expression and interactions.

Her latest series, Grand Era, is deeply influenced by her experience working on an ocean liner - an enduring symbol of intercontinental connection as it was in the early 20th century. Within this series, Moses portrays individuals navigating multiple societal roles, shifting fluidly between personal and professional identities. A single person may simultaneously function as a professional, a family member, a friend, and a community participant, with each role reflecting distinct expectations and responsibilities dictated by their environment. Through these themes, Moses explores the complexities of human adaptability and the intricate balance required to meet the demands of social existence.

Her art contributes to broader discussions on identity, social roles, and the evolving nature of interpersonal relationships.

The Secretary - Exploring the complexities of human existence and the roles individuals assume within society – this work is reflecting on the grand era of travelling by steamships. At its core, the painting portrays a secretary in service, diligently managing the affairs of an esteemed circle. With unwavering discretion and exceptional efficiency, she ensures seamless communication and coordination, solidifying her indispensable presence. Her role, though understated in recognition, holds considerable influence.

The Dame - With every graceful step and glimmering smile, the grand lady`s presence commands attention. She moves among admirers with practiced charm, a cherished figure woven into the fabric of high society. Yet when the music fades and the cabin door closes, silence settles in - a reminder that even the brightest stars can drift alone.

Website: www.victoria-moses.com

Email: info@victoria-moses.com

Intagram: @victoriamosesart

Ashwani Verma, Busking Piccadilly Circus

grantmilne@artisttalkmagazine.com (Grant Milne) — Thu, 24 Jul 2025 13:44:47 GMT

Critics Review:

The artist's exceptional talent is evident in their masterful control of watercolour, a medium notorious for its difficulty. The painting demonstrates a sophisticated understanding of light and atmosphere, using the medium's transparency to create a luminous, hazy glow over Piccadilly Circus. This is expertly contrasted with the sharp, dramatic shadows, showcasing a remarkable ability to create depth and a sense of time. The seemingly effortless washes of colour for the background and the energetic brushstrokes for the performers perfectly balance delicate subtlety with bold expression, a clear sign of a highly skilled watercolorist.

Furthermore, the artist excels at capturing the emotion and energy of the scene, not just its physical form. The dynamic poses and loose, impressionistic style of the musicians suggest movement and rhythm, as if the music is about to pour from the frame. The artist has a rare gift for distilling the essence of an urban scene—its constant motion and the unexpected joy of a street performance—and conveying it with a powerful sense of atmosphere and narrative. This ability to imbue a painting with such a strong sensory experience is a true testament to their talent.

Critics - Grant Milne - Founder of Artist Talk Magazine

LAURENTIU STROE

Fri, 04 Jul 2025 16:40:16 GMT

Laurențiu STROE is a Romanian painter known for his raw, expressive style and textured surfaces. His artwork stands out through thick layers of paint, powerful brushstrokes and pallette knives, and a strong emotional presence. Using the impasto technique, STROE applies paint so heavily that it creates a sculptural texture, adding depth and movement to the canvas.

His portraits explore human emotion—fear, fragility, pain, resilience—capturing what lies beneath the surface. Every painting is a personal journey, where color and texture reflect states of mind and feeling rather than form.

His recent series, SUBLIMATION, dives even deeper into this emotional terrain. Inspired by the complexity of human experience, the series speaks to silent struggles, moments of vulnerability, and the quiet strength people show when facing hardship. Each work is an abstract portrait aiming to express an inner world, not just a face.

A key feature of STROE’s work is the contrast between vibrant color and dark, often black, backgrounds. This clash reflects the tension between light and shadow, hope and despair—emphasizing the emotional layers that define human life. The vivid tones are not only visually striking but also serve to amplify the emotional charge of the works.

STROE invites viewers to pause and reflect. His art is not polished or distant—it’s immediate, honest, and deeply human. With SUBLIMATION, he continues to explore the emotional core of painting, offering powerful visual stories that resonate long after you leave the canvas behind.

CONTACT THE ARTIST

instagram: @laurentiustroe_art

Email: laurentiustroe@ymail.com

Painting from Within: Exploring Fluid Forms and Unseen Emotions

Thu, 05 Jun 2025 09:53:02 GMT

I am a Birmingham-based artist whose work explores spiritual and emotional landscapes through fluid forms and layered textures. Through my paintings, I seek to express feelings and inner states that words cannot easily convey.

I developed my practice through studying Fine Art, where I began to explore the interplay of texture, movement, and the sense of presence in painting.

My recent works are inspired by symbolic narratives, nature, and moments of personal reflection. I combine ink, oil, acrylic, textured surfaces, and fabric printing to create compositions that evoke light, flow, and subtle movement.

Pieces such as Crossing the Deep, Echoes of Sunset, and Fragment of Me explore themes of presence, stillness, emotional resonance, and the unseen connections between the natural world and the inner self. For me, art is a bridge between inner experience and outer form, an invitation for the viewer to pause, reflect, and feel.

I am continually experimenting with new materials and colour palettes, searching for ways to express subtle shifts in feeling, space, and atmosphere.

You can follow my journey on Instagram: @mahfaamart

Or visit my website: https://www.mahfaamart.uk/

Angelo Asaro: Surreal Reflections of Human Complexity

Wed, 04 Jun 2025 01:23:19 GMT

Angelo Asaro is an Italian artist based in London. His journey bridges engineering and art: after earning a Master’s degree in Engineering and building a successful career as a Product Manager, he eventually followed his true calling — art. This transition allowed him to combine analytical precision with deep creative expression.

Angelo’s work fuses surrealism and symbolism with strong conceptual depth, drawing inspiration from literature, philosophy, and psychology. His art has been exhibited internationally in galleries, art fairs, and virtual showcases, and has appeared in publications such as British Vogue, Vanity Fair, and leading art blogs.

In 2024, he was a finalist in the ArtGemini Prize and the Zari Art Prize, both celebrating exceptional contemporary talent. He was also selected for the XV Florence Biennale and the London Art Biennale 2025, two of the most respected international exhibitions of contemporary art.

Tell us about yourself. How have your roots and experiences shaped your artistic vision?

My work is deeply rooted in the exploration of the human condition — the emotional, social, and philosophical threads that define who we are. My visual language combines symbolism, surrealism, and contemporary narratives, all rendered with meticulous attention to detail.

My creative vision has been shaped by a rich tapestry of influences — literature, philosophy, artistic movements, and a deep investigation of psychological and existential themes. Growing up in Sicily — a land of powerful contrasts, layered histories, and a profound cultural legacy — played a fundamental role in my artistic development. The island’s literary and cultural heritage often centred on themes like identity, solitude, and the fight against social injustice, has greatly influenced the emotional and conceptual core of my work.

This background fuels my desire to create art that resonates on both personal and universal levels — inviting viewers to reflect on their own experiences and the intricate web of connections that shape our world.

How would you define your artistic style, and what themes are central to your work?

My style is a hybrid of surrealism, symbolism, and elements of pop art. I often use vivid colours, precise detail, and unexpected juxtapositions to blur the boundaries between reality and imagination. The result is a visual language that’s both accessible and layered — inviting viewers to look closer, then think deeper.

At the heart of my work are recurring themes: the search for identity, the fragility of existence, and the tension between individuality and conformity.

Among my most significant works is the series ‘Time and Existence’, which explores the impermanence of life and the universal search for meaning. In this series, the hourglass becomes a central metaphor — a visual symbol of time's inexorable passage and our relationship with it.

In ‘Bubbles of Life’, I delve into the fragility of existence and the ephemeral moments that define our reality, using bubbles as metaphors for the fleeting nature of joy and sorrow. Similarly, ‘The Kintsugi of Soul ‘reflects the philosophy of embracing imperfection and healing through the art of repair — transforming scars into stories and fractures into strength.

Beyond these existential themes, I also explore the psychological effects of contemporary life — how mass media, consumer culture, and digital society reshape the way we think, feel, and relate.

Across all my work, I aim to confront these tensions with poetic irony, visual metaphor, and emotional honesty.

Many of your works critique passive thinking and identity loss. What does it mean to "think" in today’s world?

To think critically today is a radical act. We live in an age of fast consumption — not just of products, but of ideas. We’re constantly fed simplified, pre-packaged thoughts, designed for easy digestion. The risk is that we lose the habit — and the courage — to think for ourselves.

In ‘Ready-Made Thoughts’, I portrayed a man’s head as a teacup — not thinking for himself, but dipping “thought-bags” into his mind, a symbol of ideas imposed by media and culture. It’s a provocation, yes — but also an invitation to question, to resist intellectual passivity.

Identity, too, is something we construct — but society often imposes roles, images, and masks. In ‘The Appearance of Emptiness’, I depicted figures reduced to clothes hanging on empty hangers — we become what we show, not what we are. Yet there’s always a chance for redemption: in that painting, a man holds a green balloon — a symbol of fragile authenticity and hope.

You often explore themes of integration and coexistence. Why are they so important to you?

They are absolutely central. We live on shared ground, yet we continue to build walls — physical, ideological, and emotional. The belief that diversity is a threat is perhaps the greatest obstacle to collective growth.

In ‘Unity in Diversity - Harmony on Shared Land’, I use the metaphor of chess and checkers — two games with different rules sharing the same board — to illustrate that coexistence is possible without erasing differences. Conversely, in ‘Apartetris’, I depicted what happens when we reject integration: the pieces don’t fit, and society remains incomplete.

These works are an appeal to reimagine coexistence not as compromise, but as co-creation.

You often denounce apathy toward tragic events like war. Why did you choose art to address these themes?

Because art has the power to shake us — without screaming. I’m not interested in representing war through direct trauma; instead, I use absurdity to highlight dissonance.

In ‘Silent War’, for example, a man eats a hamburger while watching war footage on TV. The ketchup merges with blood, the fries with bullets. It’s a grotesque image, yes — but it forces the viewer to reflect: what does it mean to “see” war from a distance, in the comfort of your living room? We consume horror daily, often without emotional response. The absurd, in this case, becomes a tool for truth.

Irony and satire appear often in your work. What role do they play?

Satire is a way to disarm before confronting. I often use a pop aesthetic — playful, colourful, familiar — to lure the viewer in. Then I turn the mirror.

In ‘Mindbrew’, for instance, I created a satirical image of a head-as-mug with ideological jars labelled “Yespresso” and “Nospresso.” It looks like an ad — but it's a critique of polarization and the trivialization of thought.

For me, irony is never decoration. It’s a language — one that can reveal uncomfortable truths with a smile.

What do you hope viewers take away from your work?

I don’t want to provide answers — I want to create questions. My art is meant to act like a distorting mirror: to reveal what we usually overlook, ignore, or suppress. I want my work to linger in the viewer’s mind — like a quiet question that echoes long after the image fades.

Follow Angelo Asaro on Instagram @ Angelo_A_Art

For more: www.angeloasaro.com

ERNESTO ARTIG

Wed, 28 May 2025 18:55:47 GMT

Breaking the Frame: Art, Emotion, and Connection

By Ernesto Artig

As an abstract artist, I work from the inside out. My process is intuitive, raw, and rooted in emotional truth. Each painting begins as a conversation—between parts of myself, between tension and release, between what’s visible and what’s felt. I use mixed media to layer meaning and texture, letting each piece evolve organically until it speaks with its own voice.

But for me, the art experience shouldn’t stop at the canvas. That’s why I founded the Connecting Conditional Art Movement (CCAM).

What is the Connecting Conditional Art Movement (CCAM)?

CCAM is a response to how disconnected the art world—and often the world itself—can feel. At its core, it’s about creating emotional bridges between people through the artwork they collect. Each piece within CCAM exists in dialogue with a counterpart. When a collector acquires one of these works, they agree to share their contact details with the buyer of its companion piece. In doing so, they become part of a living network—a community connected not just by ownership, but by shared resonance.

This movement invites us to look at art not as a commodity, but as a conduit. A spark. A starting point for something more human.

Below are four examples of paintings that are part of the CCAM. Each one holds its own emotional and visual language, but also reaches outward—toward its counterpart, and toward you.

If you’re an artist who feels aligned with the ethos of the Connecting Conditional Art Movement and would like to contribute your own paired works, I invite you to get in touch. You can reach me at hello@ernestoartig.com .

Out of Line

(2025)

Mixed media – spray paint, acrylic, collage on canvas

100 × 100 cm

Part of the Connecting Conditional Art Movement (CCAM)

Out of Line explores the tension I often feel between conformity and resistance. The rows of red female silhouettes, marching in step across the canvas, represent the pressures to align, to remain within predefined roles. But if you look closely, you’ll see small disruptions—figures beginning to deviate, to shift.

This piece invites reflection: where do you stand in collective patterns? Are you blending in, or beginning to question the formation? Through texture, repetition, and interruption, I wanted to capture the moment when something stirs beneath the surface—when stepping out of line becomes not just possible, but necessary.

As part of my Connecting Conditional Art Movement, Out of Line is conceptually and emotionally linked to Line to Light. Together, they create a dialogue between different forms of inherited identity and the courage to break free from them.

Line to Light

(2025)

Mixed media on canvas

100 × 100 cm

Counterpart to Out of Line / CCAM

In Line to Light, I turned my attention to masculinity—not as essence, but as something constructed, performed, and inherited. The faceless male figures move in rigid lines, surrounded by symbolic marks: eyes, hands, gestures that hint at expectation and control. I wanted to reflect on how emotional expression is often suppressed in men—how performance replaces presence.

At the centre is a vivid orange sphere. To me, it holds dual meaning: the beginning of something harmful, but also the exact point where that harm can start to unravel. It’s both origin and rupture.

This piece is a counterpart to Out of Line, and together they form a dialogue within the Connecting Conditional Art Movement. The collector of this work is invited to connect with the person who holds Out of Line, creating a living thread between two experiences, two expressions, two people.

Eruption of Passion

(2024)

Mixed media on canvas

Part of the Connecting Conditional Art Movement (CCAM)

Eruption of Passion came from a place of intensity—emotional, physical, almost volcanic. I let the reds and oranges move across the canvas with force, unfiltered and unapologetic. There’s a wildness in the motion, but also a hidden structure—a symmetry that emerged in the making.

The work holds a conversation between chaos and balance. I see it as a visual representation of what it feels like when emotion is no longer contained, when it insists on being seen and felt in full force.

As with other pieces in the Connecting Conditional Art Movement, this painting comes with a condition: the buyer must share their contact details with the collector of its counterpart, Ebb and Flow. This creates a shared space—one where emotion meets emotion, across distance, across canvas.

Ebb and Flow

(2024)

Counterpart to “Eruption of Passion” / CCAM

If Eruption of Passion is the storm, Ebb and Flow is the still water after. This piece emerged as a response—as a need for calm and inward motion. The deep blues and fluid lines reflect a more meditative state. It’s quieter, but no less powerful.

I think of it as the inward breath—the moment of integration after emotional release. It carries the rhythm of tides, of thoughts settling, of feelings being held rather than expressed.

Also part of the Connecting Conditional Art Movement, Ebb and Flow invites its collector to connect with the one who holds Eruption of Passion. It’s a quiet act of connection between strangers—an acknowledgment that we all move through cycles of fire and water, eruption and rest.

Alchemy and Symbols: The Afro-Ancestral Spiritualism of Ahmed Partey

Wed, 28 May 2025 17:56:43 GMT

In the vibrant and ever-evolving landscape of Ghanaian contemporary art, Ahmed Partey stands out as a visionary whose work offers a profound meditation on ancestry, identity, and transformation. Based in Accra, Partey’s practice spans painting, pastel, sculpture, wood carving, and immersive digital technologies—including virtual and augmented reality. At the center of it all is a guiding philosophy he calls Afro-Ancestral Spiritualism: a worldview that reimagines West African spiritual heritage through a symbolic, surrealist lens.

Rooted in Ritual, Reaching Toward the Unseen

Partey’s work emerges from deep engagement with traditional African visual systems—particularly Ga Samai, a sacred symbolic language of the Ga-Adangbe people of Ghana. Since 2017, he has expanded this lexicon from 30 to nearly 100 symbols, breathing life into what he calls “speechless voices”—nonverbal forms that transmit ancestral wisdom across generations. His figures are elongated, mask-like, and rendered in charged states of stillness or transformation—guardians of memory who exist somewhere between the spiritual and the surreal.

These figures are not portraits, but vessels: containers of emotion, myth, and psychic memory. His compositions, shaped by Ghanaian cosmologies and folklore, collapse time and space.

From Wood to VR: A Practice That Moves Across Dimensions

Partey moves fluidly between traditional and experimental media. He works with acrylic, oil, pastel, and carved wood, but also builds digital environments using VR, AR, and NFTs, extending ancestral motifs into immersive, contemporary realms. His figures are often encoded with Ga Samai, adorned with scarification and beads, and set against backdrops that range from kente-inspired geometry to cosmic abstraction.

This interplay between tactile and digital reflects Partey’s broader vision: to show that heritage is not static, but expansive. His works function as spiritual interfaces—technologies of memory and transformation that invite viewers into ritual spaces reimagined for the now.

In addition to his studio practice, Partey has collaborated with Ghanaian musician Okaidja Afroso, designing cover art for two of his albums—further extending his symbolic language into sound and storytelling.

International Reach, Deep Roots

Partey’s work has been exhibited internationally, including at The Gund Gallery (USA), Africa House at the World Economic Forum in Davos (Switzerland), Shanghai International Art Fair (China), NFT Paris, and NFT NYC. In Ghana, he has appeared at platforms such as the Chale Wote Art Festival and Art After Dark in Accra. In April 2025, his work was featured in Baring It All, a juried virtual exhibition presented by Art Fluent.

His practice has also been featured in prominent media, including ArtNews (“10 Africans Using Technology as Their Canvas”), Le Monde, MakersPlace, and ARTYNFT—testament to his growing impact across both traditional and digital art spheres.

Spiritual Inheritance as Artistic Fuel

For Partey, art is not just an aesthetic pursuit—it is devotion, recovery, and resistance. His works confront cultural amnesia, rekindling symbolic systems that have been sidelined or forgotten. Through his practice, he offers new ways of seeing: where tradition is not ornamental, but alive; where masks are not static relics, but interfaces; and where the past is not behind us, but encoded in the now.

Through Afro-Ancestral Spiritualism, Ahmed Partey invites us to witness what was never truly lost—to listen to silence, see through symbol, and feel what continues to move beneath the surface of form.

Follow Ahmed Partey on Instagram @ahmedpartey
For more: ahmedpartey.wixsite.com/partey

Fragile and fleeting states fascinate me. My camera helps me capture the transient and give it permanence.

Tue, 27 May 2025 13:38:04 GMT

Elitza, you‘ve been working as a photographer in Berlin for some time. You were born and raised in Bulgaria. You studied art and cultural studies at Berlin‘s Humboldt University and later worked for a long time as a graphic designer. It doesn‘t sound like a straightforward path. Have images always been important to you?

Images have accompanied me my entire life. I was fortunate enough to grow up in an art- loving house in Sofia, where – despite the socialist economy of scarcity – there were art albums, books, and conversations about art. As an art history student in Berlin, I learned to analyse images. As a graphic designer, I had to interact with other people‘s photos and my own. As a photographer, I often find myself standing in front of my many photos and have to make a selection, evaluate them, and choose the best ones.

When did you discover photography?

I took my first course at the adult education centre in Berlin at the age of 18 and then set up a lab for analogue black-and-white photography. Unfortunately, photography remained only latent in my life for a long time. I can‘t describe it, but somehow I was afraid to fully im- merse myself in it. During my studies, I pursued it as a hobby, then as a freelance journalist, I illustrated my newspaper articles with my photos, later – as a graphic designer – I used my photos in projects, and finally, I enjoyed documenting my children‘s development… but for a long time, I couldn‘t fully commit to photography.

That changed when I started dancing at the age of 40. Through dance, many blockages disappeared, and many dormant life projects emerged. Personal contact with dancers and participating in their work also inspired me to intensify photography. It was clear to me that at my age, I wouldn‘t reach great heights as a dancer, but that I could certainly live out my fascination for dance and movement through the camera. I developed my skills in dance photography and experimented with a wide variety of photographic techniques.

After my first exhibition, "Fascination Movement," in 2020, I was confronted with the question of whether I wanted to continue practicing photography as a craft or work more artistically. Well, the latter is more my style.

Why did you choose photography as a medium of expression?

My mind was always full of images. Even as a child, I spent long evenings in bed with my eyes closed, imagining, producing images, and arranging the world the way I wanted it to be. I also loved painting and drawing, but I‘m very impatient and need a faster medium to realize my ideas. In addition, I‘m particularly interested in fragile and fleeting states, such as movement, water, and lighting. With a camera, I can give permanence to the ephemeral.

I believe, if you approach the topic from a depth psychological perspective, photography was a remedy for a great fear of loss within me. This fear arose when I came to Berlin in the 1980s, when an entire world—Bulgaria—was lost to me. But the universal human fear of our transience also plays a role here. For me, the camera is a kind of magic wand that allows me to control time and, if I wish, stop it.

In my exhibition "Time - Structure“ (2024), I illustrated this phenomenon using motion photography – with short exposure times, I freeze time; with long exposures, I show the traces of movement and duration; with multiple exposures, I demonstrate simultaneity; and with stroboscopic effect photography, I dissect the moment into fragments and capture them in a single image. I accept the challenge of depicting movement and allowing it to continue to have an impact through a static medium like photography.

Nevertheless, the fear of loss and transience is not the only driving and determining factor in my photography. It is also a great joy to capture transformations and changes. In my series „Berlin as a Water Reflection,“ I photograph the "eternal“ buildings on the Spree—the palace, the cathedral, the Pergamon Museum, etc.—in diverse variations and appearances as transient water reflections. And in dance images, such as "In the Flow of Time,“ I capture traces of movement—unique moments that no one else has seen or can see.

What are you currently photographing?

Since I decided to pursue fine art photography, I haven‘t been so focused on my subject matter. I pay more attention to my "inner thread" and where it leads me.

After intensively exploring movement from 2012 to 2023, I‘ve been fascinated by water since 2024. The series "Berlin as Water Reflection" is a work in progress and may continue, but my observation of water has given rise to a new series – "Abstract Water Images.“ Here, too, water becomes my canvas, its surface textures become brushstrokes and lines, and the reflections on them become patches and patterns of colour. Only here does everything "fall apart“ – real objects like houses, boats, and bridges lose their representational quality and become abstract photographs.

What type of photography do you like? Your water images, for example, move between many areas of photography – nature photography, architectural photography, landscape photography, street photography, abstract photography – but also between the media of photography, painting, and drawing.

My engagement with images and art history has sensitized me to many art movements and styles. I choose my mediums unconsciously. Only in retrospect do I realize, "Oh, that turned out to be Impressionist,“ or "that belongs to Bauhaus,“ or „Oh, I didn‘t know I‘d ever be a landscape painter.“ In principle, in every photograph I take, I look for something special, unique, and "familiar“ that no one else has seen, even though the original „motif“ is visible to everyone and very real.

And, I‘m really excited to explore the boundaries of photography compared to other media.

You‘ve already had four solo exhibitions and one group exhibition. Are you planning a new exhibition for 2025?

Yes, three exhibitions are provisionally planned for 2025.

From June 4 to 28, 2025, I will be participating in a group exhibition with the charming title "I Found a Way to Make You Smile," featuring 38 works that aim to elicit a smile from the viewer in times when there is little to laugh about.
In October, I will have a solo exhibition where I can present various facets of my photography. A public exhibition is planned, but not yet finalized.

For more information - https://www.instagram.com/nanova.artworks/ and https://nanova-photography.com/

Artist Glafira Kotova shares why she loves bold colours, who she creates for, and what she’s planning to present next

Thu, 15 May 2025 21:10:05 GMT

What theme do you feel runs like a red thread through all of your work?

 It’s hard to single out just one, but at the core is definitely my desire to show the world in all its forms — as I see it. Through light, through movement, through rhythm. I want to express what matters to me at a given moment, my constant fascination with people, nature, and the city I live in. Sometimes circumstances push me to reflect philosophically. That’s when more unexpected pieces emerge, even for me. This year I’ve been focused on nature — painting the subjects I love most: animals and the natural world.

So, would you say that a deep love of life is your driving force?

 Yes, I really believe people should strive for constant growth — and for that, you need a positive direction. Of course, it’s not possible to always be in high spirits, but keeping your thoughts on an optimistic track helps move forward.

Inspiration fuels the creative process, but success also requires discipline and hard work. Do you work in bursts or to a schedule, even when the muse is silent?

 I just start painting, thinking, working. Inspiration comes during the process — and my muse is always there. Sometimes quiet, but always present. I’m a very hard-working person. I don’t need much sleep, and art gives me energy. Exhibiting and creating recharge me, like I’ve added more hours to the day. Artists, like musicians, need daily practice — like vocal warm-ups for singers. When inspiration and the right emotional mood align, the result is something truly special, and the viewer can feel that surge in the work. At art school, we were taught that after finishing a major piece, you should grab a small canvas and do a quick sketch. The difference between the two is striking — the first is calculated, the second pure emotion.

Your colour palette is full of life — that’s immediately noticeable.

 I do love vibrant colours. I’ve tried working in more muted, monochrome tones, but they don’t give me the same thrill once finished — they don’t stir strong emotions. That’s why I’m not fond of watercolour. It feels too subdued, lacking in energy. I want an explosion of colour and emotion. A painting should make you want to hang it on your wall — to bring joy and positive energy into the space. I create for people who are drawn to beauty. It’s important to me that my art feels relatable, something people connect with — not just a future investment in a promising artist, but something personal. Maybe that’s how my inner rebellious streak comes out in my work. Sometimes I’ll start a loose, expressive underpainting and love it so much it feels like a shame to tidy it up.

You’ve taken part in numerous exhibitions in the UK, including solo shows. What are your goals as an artist moving forward?

I’d like to exhibit more often not only in the UK but also across Europe and the US — ideally joining smaller themed exhibitions every six months, and holding solo shows every couple of years. I’m also planning to launch my own art project where fellow artists and I will create themed works across various media and styles, and host large-scale collaborative events. I love engaging with people and inviting them into the creative process.

So you're hoping to take on the role of curator? To organise and shape the project yourself?

 Exactly — to develop the theme, write the concept, and produce a catalogue. It could include small sculptures, mosaics — we could bring in artists from different disciplines through open calls. And it would be amazing to take the project on tour around the country!

Luis Pedro Picasso

Wed, 09 Apr 2025 13:04:32 GMT

My name is Luis Pedro Picasso. I have been a graphic designer, illustrator since my childhood, and painter.

Before commencing my studies, at the tender age of 8, I began my journey into the art world, creating illustrations with graphite pencil.

After completing high school, I pursued my studies in graphic design at Instituto Bios in Montevideo, Uruguay, and I graduated at the age of 23.

My enthusiasm for art and drawing has driven me to continuously refine my skills across various techniques.

In April 2020, at the onset of the pandemic, I began taking painting classes. This opportunity allowed me to cultivate a unique style free from any external theoretical influences.

I started drawing on the knowledge I had amassed over the years, crafting my own unique style and approach to painting.

Life serves as our greatest teacher and mentor; our experiences form the foundation of our skills, while those around us and our cherished ones are our primary sources of inspiration.

Artist Statement:

I began illustrating at a very young age. At just 8 years old, I was living in the countryside with my family and two sisters, and my main source of joy was drawing, which ultimately blossomed into my passion. I became captivated by people’s faces, often replicating or envisioning them. This fascination pushed me to refine my skills to the point of creating faces that embodied distinct personalities. As a teenager, I developed a keen interest in graphic design, prompting me to pursue a career that blended my innate abilities with newfound knowledge. I believe my paintings intertwine elements of pop art and graphic design, often leaving viewers questioning whether they are seeing real or digital artwork.

I would characterize my style as pop dissection—a fusion of vibrant colors and skeletal shadows. I have a deep passion for skeletons and their intricate structures, fascinated by how the shape of a living being is influenced by them.

My foremost aspiration as an artist is for those who encounter my work to feel a fraction of the energy I infused into its creation, be it anger, joy, sadness, or any other emotion that my art elicits. I believe that the designation of 'artist' is granted by others, as it is they who ultimately determine whether or not you deserve that title.

The greatest challenges I encounter are avoiding repetition; I strive to make my work as original and personal as possible. While it’s inevitable to be influenced by the art world, I work hard to ensure that it doesn't shape me, but rather that I shape my own artistic identity.

I want to create based on what I was created and give life to my works from the depths of my being.

Exhibitions:

The Holy Art Gallery: " Art On LOOP " New York - 22nd of March 2024 (72 Warren Street,New York).

Boomer Gallery: " What is ART " London - 13 of September 2023 (150 Tooley Street, Tower London Bridge).

Meng Li

Wed, 09 Apr 2025 10:49:31 GMT

Meng Li is a London-based contemporary artist and printmaker originally from China. She graduated with a bachelor’s degree in Visual Communication Design from Sichuan University and is currently pursuing an MA in Printmaking at the University of the Arts London. Her practice explores the relationship between life and existence through inanimate objects, examining themes such as the boundaries between object and subject and the interplay between human society and the natural environment.

Using natural materials such as bones, stones, and soil—collected during her explorations in nature—Meng creates installations and artworks that reflect transformation and impermanence. Influenced by philosophy, archaeology, and the natural sciences, her work incorporates concepts such as Carl Jung’s collective unconscious and biomorphic forms, seeking to provoke a deeper contemplation of humanity’s connection to the natural world.

Meng’s art invites viewers to reflect on the meaning of life, our shared ties to nature, and the perception of life and existence.

She recently exhibited her work at Millbank Tower in London and held her solo exhibition, Echoes of Existence: Life in Objects , at Peckham Levels in London, which was featured by Camberwell College of Arts. Her work Primo was included in Artist Talk , Issue 37.

“If you try to understand Meng’s prints, you should look down, look at your feet, as if you were reading a map. Don’t look outward, look downward.” — Paul Coldwell

Haru Mihoko

Fri, 21 Feb 2025 03:25:52 GMT

My name is Haru Mihoko and I am a painter currently working in Japan.

I have loved drawing since I was a child and studied fine art and graphic design in my student days.

After that, I continued to draw freelance, doing illustration work and illustrated packaging design for souvenir sweets, and now I am mainly working on creating paintings.

I mainly use mixed media techniques to create beautiful landscapes, women's paintings, abstract art, etc. in delicate colors.

While working on paintings, illustrations, and collaborative works with companies, I also enthusiastically participate in group exhibitions, solo exhibitions, and art exhibitions at galleries and museums both in Japan and overseas.

After entering the workforce, I wanted to reexamine my life as a painter, so I decided to go to an art university in the UK by myself.

During my short-term art study abroad, I studied abstract painting and expression painting at Chelsea College of Art and Design in London.

I learned a lot of things in my university classes and my experience studying abroad helped me grow.

I won the top prize in the painting category for copying and coloring in the Graded Award in Drawing, which is part of the UAL (University of the Arts London) course.

In this painting course, students create and submit works based on assignments proposed by university lecturers, and the university will notify them of their pass/fail results and grades.

I was selected for the Graded Award in this category and received an official digital certificate from the university.

In addition, I was fortunate to have the opportunity to participate and exhibit my work at the Artist Talk Magazine London Underground Digital Art Show in the UK, along with artists from all over the world, and in the same year, my work was published in the first issue of Artist Talk Magazine in Japan.

The various experiences I had studying art abroad, which were fresh and innovative, will remain a precious treasure to me, and I would like to continue to use them in my creative activities.

I also strongly felt that art is a wonderful and free world.

I will continue to paint in my own way, cherishing the memories of studying art in the UK, visiting many art museums, and appreciating the works of masters.

HP #春美穂子

https://mihoco-ranran.jimdofree.com/profile-1/

Instagram

https://www.instagram.com/mihoko__haru/

Anouk Schmidt

Thu, 30 Jan 2025 15:20:34 GMT

I am Anna (Anouk) Schmidt, currently living and working in the western region of Hungary as an illustrator.

My connection with drawing dates back to my childhood. A master painter introduced me to the world of applied arts from the age of 6, who had accompanied my journey for more than a decade later on.

The current form of Anouk Arts represents the natural intuitive experience of childhood for me, where the perception of space, time and physical attributes ceases in the process of creation. My main topics are the relationship between nature and humans in the realm beyond the known world. The passage between the worlds is represented by symbolism, with the feeling of memories which never have happened.

I am greatly influenced by nature and the living flora and fauna, constellations, mysticism, Eastern philosophies, the art of music and cinema. I am also inspired by the artists of the spiritual culture that emerged in the 60s and 70s, highlighting some of them, such as Carlos Castaneda, Syd Mead, Bruce Davidson, Hiro Isonoo, Henryk Płóciennik.

Max-Malte Posmyk

Mon, 27 Jan 2025 15:29:12 GMT

Max-Malte Posmyk, known by his artist name MM.POSMYK, is a contemporary impressionist painter based near Berlin. His work blends the delicate language of lmpressionism with the expressive power of contemporary art. Thematically, he explores femininity, the vastness of the sea, and the longing for maternal security. His art reflects profound human emotions and the time/ess relationship between nature and intimacy, while also fostering interdisciplinary dialogue across generations and cultures.

In 2024, MM.POSMYK completed his Master's degree in Art and Management. His thesis, titled Personal Branding for Artists, underscores his ambition to merge creative practice with strategic thinking, proactively shaping the art world.

Under the mentorship of renowned painter Olaf Thiede, he honed his artistic ski/ls and cultivated his distinctive style. His work and artistic philosophy have been featured in regional newspapers and national podcasts, offering compelling insights into his creative journey.

MM.Posmyk’s exceptional talent has been acknowledged through numerous accolades, including being named a finalist for the international art prize by Bestill.Media (USA). His featured painting, Golden Motherhood, captivated audiences with its profound emotional depth and technical brilliance.

His work has also graced the pages of Divide Magazine, a renowned international art publication based in London. This feature highlights his innovative approach and the thematic richness of his creations. In 2024, Posmyk received the Excellence Award at GalleryNAT in London for his contributions to the exhibition Loneliness and Poetics during the London Contemporary Art Review Exhibition.

Posmyk’s work has been celebrated in art auctions, including a prominent sale organized by the Fördergesellschaft für den Wiederaufbau der Garnisonkirche e.V. His painting, sold for €3,800, contributed to the society’s initiatives for cultural preservation.

As a young artist, MM.Posmyk moves between the worlds of historical art and the present. He is deeply fascinated by the works of the Old Masters, not only for their technical virtuosity but also for their profound understanding of light, shadow, and atmosphere. The Impressionists, in particular, have left a lasting impact on him with their remarkable ability to capture the fleeting and the intangible through color.

Rather than merely admiring the past, Posmyk seeks to reinterpret it through a fresh, contemporary lens. Viewing these traditions through the eyes of an artist of his generation, he delves into their depths and reimagines them, opening up new perspectives that resonate in today’s world.

Website: www.mmposmyk.de

Instagram: www.instagram.com/mm.posmyk

LinkedIn: https://www.linkedin.com/in/malte-posmyk/

ChollCholl

Sun, 05 Jan 2025 13:07:41 GMT

Cholladee Jampathom, aka 'ChollCholl,' is a Thai artist and illustrator. She was born in Bangkok, Thailand, in September 1989. She graduated with a Bachelor's degree in Communication Arts and a Master's degree in Graphic Branding & Identity."

Although she did not graduate directly in the field of art or have a background in this area, she has been interested in and passionate about drawing since childhood. Additionally, her parents also have a love for art and music, which has led them to support her artistic journey all along.

She began to focus more intensively on her artistic career in the past few years. Her interests tend to focus on inner growth, nature, and the subtle nuances of being human. Therefore, her work often contains elements that reflect thoughts, inner states, and the journey of understanding and discovering one’s own identity.

Her work tells the story of inner growth through her own experiences and perspectives.She communicates this journey through the full life cycle of a butterfly, divided into three stages. In the first stage, she symbolizes youth, freshness, excitement, and hope as one embarks on a journey. This is represented by a caterpillar dreaming and painting its aspirations on its own wings.

As we grow, we inevitably face changes within our minds, filled with confusion, uncertainty, and a sense of being lost. At times, we may not want to or feel ready to grow, unwilling to step out of the protective cocoon that shields us.

Eventually, even after growing and overcoming confusion and anxiety, emerging as a beautiful butterfly with wings spread wide, the process of growth continues, along with new obstacles and challenges that test us. If we compare it to butterfly wings, they may be beautiful, yet marked by scars, rips, and many imperfections. They might not be flawless, but they are unique and meaningful in their own way. This, in turn, is what gives our growth its value.

Another series of works she created involves embracing and reflecting on her own flaws, which she produced to celebrate Pride Month. She expresses six of her personal flaws through her art, aiming to empower and encourage others to accept their own weaknesses as well. Whether positive or negative, these flaws are part of what shapes us into who we are.

In November, she was selected as one of the artists to participate in the ‘100+ Asia Art Season 2024’ exhibition in Shenzhen, China. This Asian art festival was held to promote the diversity of artistic and cultural expressions of artists from across Asia.

CESTNICOLAS: The Art of Timeless Expression

Sat, 28 Dec 2024 13:11:02 GMT

Hailing from the sunlit shores of the French Riviera, CESTNICOLAS, is a self-taught artist whose work transcends borders, emotions, and conventions. At just 26 years old, this emerging talent has already captivated audiences across Europe and the Middle East, showcasing his creations in prestigious venues from the Côte d’Azur to the Emirates.

A Deeply Personal Artistic Vision

For CESTNICOLAS, art is far more than a visual medium; it is an introspective and emotional journey of self-expression. His work embodies an unrelenting pursuit of inner peace, reflecting his resilience and passion. Each creation invites viewers to immerse themselves in an emotional landscape shaped by life’s triumphs and trials.

“I live to create, not to survive by creating,” he explains, “and that defines the true difference between an artist and an artisan.”

This philosophy vibrantly manifests in his art, where traditional boundaries of medium dissolve. From large-scale paintings to custom watches, CESTNICOLAS seamlessly integrates craftsmanship into timeless narratives.

Notable Exhibitions and Recognitions

In recent years, CESTNICOLAS has showcased his work at several iconic venues:
• ArtBeach, Côte d’Azur (July 2020): An exhibition capturing the spirit of the Riviera.
• Expolaroid, Bordeaux (April 2022): A celebration of his creative versatility during the 10th edition of this prestigious event.
• JW Marriott, Cannes (February 2023)

In 2023-2024, he expanded his creative repertoire by launching One of One, a collection of watches.

December 2024: Certificate of Artistic Merit awarded by the Luxembourg Art Prize under the direction of the Pinacothèque Museum.

A Rising Star in the Media

The art world has taken notice of CESTNICOLAS. His piece Mars et Vénus graced the cover of Art4Any magazine (April 2024), accompanied by an in-depth feature. He also appeared in Artist Talk magazine, issues 31 (2024) and 34 (2024), as well as the International Contemporary Artists 2024 catalog, solidifying his status as a rising star in contemporary art.

Signature Works: A Fusion of Emotion and Metaphor

Each of CESTNICOLAS’ creations delves deeply into the complexities of life:

Take a Chance (2024) This compelling piece serves as a powerful representation of the vital importance of seizing opportunities when they arise. The imagery is beautifully captured through the symbol of a four-leaf clover, which bravely emerges from the shadows, embodying the essence of luck and the potential for growth. This delicate yet resilient little plant reminds us that even in the most challenging and hidden corners of our lives, there are chances waiting to be discovered. The four leaves represent hope, faith, love, and luck, encouraging viewers to embrace the moment and take the risk, ultimately leading to newfound possibilities and experiences.

Tourmente (2019): Inspired by the raw energy of a storm, this captivating piece goes beyond mere aesthetics to delve into the complexities of life’s challenges. It vividly illustrates the struggles we face and the profound transformation that can arise from resilience. The work not only reflects the tumultuous nature of adversity but also celebrates the unwavering spirit that drives individuals to overcome obstacles, ultimately showcasing the beauty that can emerge from the chaos.

Mars et Vénus (2020) is a heartfelt tribute to the enduring themes of love and family. This captivating work explores the complexities of relationships, highlighting the unique ways in which individuals express affections and navigate the dynamics of family life. Through its engaging narrative, it offers a poignant reflection on the bonds that unite us, celebrating the joys and challenges that come with love in all its forms. Whether through laughter, conflict, or reconciliation, the essence of Mars et Vénus serves as a reminder of the profound connections that shape our lives.

L’ENVOL : Inspired by the enchanting metamorphosis of the butterfly, this captivating diptych beautifully portrays themes of transformation and spiritual awakening. The butterfly serves as a powerful symbol of freedom and introspection, encouraging viewers to embark on a journey inward, where they can reconnect with their innermost selves. Through its delicate evolution, the butterfly invites us to rise above life's myriad challenges, reminding us that change can lead to profound growth and renewal. Its vibrant colors and intricate patterns also evoke a sense of hope, inspiring all who gaze upon it to embrace their own transformational journeys.

Innovating Through Time

Among his most daring projects is his One of One watch collection. Inspired by the concept of timelessness, these custom, hand-painted watches transcend functionality. Each piece becomes a wearable work of art, embodying themes like transformation (Kintsugi, 2023), joy (Ice Cream - Mint Chocolate, 2023), and love (Time for Love, 2023).

An Artist to Watch

Drawing inspiration from icons like Picasso and Chagall, as well as the resilience of his own mother, CESTNICOLAS channels deeply personal experiences into works that resonate universally. His art invites us to explore the beauty of imperfection, the power of transformation, and the magic of living in the moment.

For any inquiries or collaborations, contact him at cestnicolas@icloud.com or explore his work on Instagram: @cestnicolartiste

mona khan

Sun, 15 Dec 2024 13:00:25 GMT

My name is Mona Khan, and I am a contemporary abstract artist, fashion designer, and illustrator. I completed my A Levels in Art and Design at Beaconhouse School System.

As an abstract artist, I skillfully utilize a diverse array of lines, colors, and shapes to craft a captivating visual experience that transcends the traditional boundaries of representing reality, allowing my work to embrace the realm of pure imagination. Each piece I create serves as an invitation for viewers to immerse themselves in a world unbound by the constraints of the physical universe. My preferred mediums include a harmonious blend of watercolor, acrylic, pastels, charcoal, and oil, each chosen for their unique qualities that contribute to the texture and depth of my artistic expression. Through this eclectic mix, I explore the interplay between form and color, inviting the audience to experience a dynamic journey through my creative vision.

As a devoted and enthusiastic painter, I infuse vibrant colors and emotions into my canvases. With a sharp attention to detail and a profound love for art, I aim to craft distinctive and enthralling pieces that inspire and elevate those who encounter them.

Through my artistry, I strive to encapsulate the beauty and intricacies of the world that surrounds us in all its forms. From the gentlest murmurs of nature, such as the soft rustle of leaves in the breeze or the melodic calls of distant birds, to the most striking expressions of human emotion that can convey profound joy, deep sorrow, or intense passion, I endeavor to express the complete range of life’s experiences through my work. Each piece I create is a reflection of my observations and a tribute to the myriad moments that shape our lives, seeking to inspire connection and resonate with those who encounter it.

With every brushstroke, I infuse my heart and soul into each painting, aiming to produce works that are not just visually captivating but also deeply emotive.

My work first captured attention at the signature art gallery curated by Nadine Kaffel in Turkey. In addition to my solo exhibition, my art was showcased in the Turkish press, specifically in Baskent Postası, from August 1st to August 30th, 2024. I am deeply intrigued by the convergence of art and technology. As a mixed media artist, I blend traditional techniques with an abstract flair to produce innovative and thought-provoking creations. I have been honored with recognition from the esteemed international Golden Time Talent competition (UK and Ukraine) in Season 51, where three of my artworks secured 2nd and 3rd places, respectively. Furthermore, my work was featured in Artist Talk Magazine, showcasing four of my paintings in Issue 35.

I have recently reignited my passion for painting, and the experience has been nothing short of transformative. Although my creations span a diverse range of styles and themes, I consistently find myself captivated by imaginative concepts that push the boundaries of traditional art. I believe that art knows no age or limitations; it transcends time and cultural barriers, serving as a powerful reflection of your unique creative energy. My aim is to inspire a profound sense of wonder and awe in every viewer who gazes upon my work. I strive to create art that not only resonates with cherished memories but also evokes emotions and sparks the imagination. I invite you to embark with me on this vibrant visual journey, where each piece tells a story and invites you to explore the depths of creativity alongside me.

•Achievements•

-Online art exhibition in Turkey.

-Save the frog contest.

-Picasso art online contest.

-Teaching program (crash course).

-3rd in debate competition from beaconhouse school.

-Close protection training (AGAL).

-Art and craft from hashoo foundation

Laurentiu STROE

Fri, 13 Dec 2024 15:39:31 GMT

Laurentiu STROE - Color, Texture, Inner Emotions

I am Laurentiu STROE, a contemporary visual artist from Romania, specializing in abstract expressionism. Born in 1987, I graduated from the "Nicolae Tonitza Art School," where I honed my foundation in fine arts. Although I initially ventured away from a professional art career, my love for painting eventually rekindled as a personal form of relaxation. Over time, this passion blossomed into an unyielding desire to express the depths of human emotion, culminating in my first abstract expressionist portraits. These works received recognition and praise from both critics and art enthusiasts alike.

My approach to painting is an ongoing exploration of human emotion, a journey into the realms where reality and imagination merge. I work primarily with the impasto technique, building layers of texture and using bold lines, fluid brushstrokes, and expressive energy. Through these methods, I evoke a visceral experience, highlighting the interplay of colors and shapes. My art seeks to capture the essence of the human soul, with each piece becoming a reflection of my inner passions, struggles, and emotional truths.

For me, art is more than just a visual experience—it is a form of connection. I believe in the power of authenticity, creativity, and diversity, and I strive to create works that resonate with others on a deeply personal level. My paintings are not simply objects to be admired; they are invitations to embark on a journey of introspection and emotional awakening. I aim to create a space where the viewer is encouraged to explore their own vulnerability, reconnect with their authentic self, and embrace the beauty of emotion.

My artwork invites you to explore the emotional intensity of your inner experiences, which, through the stylized portrait in an abstract manner, with a strong texture of deep black and set against a dark background, takes the viewer on a journey of reflection upon their own fears, suffering, and inner struggles. Each line rises from the canvas as a physical manifestation of an overwhelming emotion, breaking the dark monotony and adding a profound dimension to the art piece.

The contrast between the somber tones of the portrait and the explosion of vibrant, textured colors conveys that, beyond fear, suffering, emotion, and pain, there is always beauty, hope, and life. Each brushstroke of the fluid, intense, and vibrant color mixture reflects a deep and authentic emotion, and through this connection between light and darkness, the artwork acquires a human, complex, and meaningful dimension.

As I continue my artistic journey, I remain committed to the belief that art can transcend the boundaries of the physical world, offering a bridge between inner experiences and universal truths. My work reflects this ongoing discovery, serving as a testament to the endless possibility of self-expression and the deep human connections art can foster.

website: http://www.laurentiustroe.ro

instag ram: @laurentiustroe_art

Matthew Morpheus

Fri, 13 Dec 2024 15:19:52 GMT

Your colors are so rich. How do you achieve this effect?

When it comes to full-format graphic works, there is no secret as such. Achieving such rich and vivid colours is a combination of technique, material and intuition. I start by choosing high quality, expensive pens made by SAKURA, JAPAN, which allow me to achieve maximum colour saturation. Ultimately it is about finding the right balance and harmony to allow the colours to speak and evoke the right emotions. My goal is to make colours not just seen, but felt.

Whether I am working with traditional materials or digital media, I focus on layering and blending to create a sense of saturation that mesmerises the viewer.

Ultimately my approach to colour is about creating emotional resonance. I choose colours that evoke certain feelings and experiences, allowing the viewer to connect with the work on a deeper level. By carefully manipulating colour, I strive to create work that not only attracts attention, but invites contemplation and participation.

Did you begin by drawing, painting? How did your art evolve over time?

My journey in art began with black and white graphics. I was captivated by the simplicity and immediacy of a simple black gel pen and white paper, which allowed me to freely express my thoughts and emotions. Over time I moved on to conceptual art where I discovered the richness of the depth of colour.

My art has evolved considerably, influenced by the different experiences, cultures and techniques I have encountered along the way. Initially I focused on black and white abstraction, but as I became more confident, I began experimenting with coloured pens and mixed media techniques. This evolution reflects my personal growth and desire to challenge traditional boundaries in art. Each phase of my artistic journey has contributed to the unique voice I strive to express in my work today.

I see myself developing further by creating a multi-layered installation where I can engage the viewer's tactile, auditory and visual senses.

What do you want the viewer to feel?

A person can display on his face only one emotion fear, joy, sadness, sympathy. But in his soul a man is multifaceted. All intertwined experiences, from love to hate, create in the depths of his soul the most important feeling. And its name is Zero Emotion. And it is this emotion that I try to catch and capture in my works.

Through my art I hope to evoke a sense of connection and introspection in the viewer. I want them to feel a deep resonance with the layers of stories and emotions embedded in each piece. My artwork is meant to awaken curiosity, inviting the viewer to explore and uncover their own interpretations and perceptions of reality. Ultimately, I strive to create the very world to which the viewer resonates.

A Course in Miracles – A Spiritual text inspiring an artist

Mon, 09 Dec 2024 12:33:15 GMT

A Course in Miracles – A Spiritual text inspiring an artist

An artist’s inspiration often blooms from the intricate dance of the world around them, where fleeting moments and vivid emotions converge. Nature's subtle hues, the rhythm of urban life, and the texture of human interactions serve as a profound muse. For Parisi, inspiration is not merely an external stimulus but a deep internal dialogue; it sprouts from a relentless pursuit of understanding the human experience.

The profound teachings of "A Course in Miracles" (ACIM) have profoundly influenced Parisi's artistic journey since 2018, infusing his abstract creations with a deep sense of purpose and spiritual introspection. This spiritual text emphasises the power of love, forgiveness, and the transformative nature of perception, resonating deeply with Parisi's belief in the ability of art to reflect inner truth. Each brushstroke becomes an exploration of these themes, inviting viewers to experience a shift in consciousness. The vibrant colours and intricate forms in Parisi's work echo the text's messages, prompting a dialogue around healing and enlightenment, ultimately serving as a visual representation of the profound connection between art and spiritual awakening.

Experience the transformative power of Parisi's latest series inspired by "A Course in Miracles." This evocative collection melds the profound wisdom of the text with expressive abstraction, where each painting is a unique canvas adorned with collaged pages of the course. Parisi's intricate layering of words and colours invites viewers to explore their innermost thoughts, fostering a dialogue between the artwork and the observer.

Designed to evolve over a lifetime, this series embodies Parisi’s commitment to personal and spiritual growth, inviting each viewer to reflect on their own journey toward enlightenment, one that they are often may not even aware of. This ongoing exploration of love, forgiveness, and self-awareness promises to challenge perceptions and deepen the understanding of one's connection to the universe. Embrace the art as it blossoms—a living, breathing testament to the power of transformation and the beauty found within conscious creation.

Discover the spiritual essence for yourself in Parisi’s art, inspired by ACIM. This collection fosters reflection and expresses love, forgiveness, and enlightenment, guiding you on a personal journey of understanding through abstraction.

www.ginoparisi.com

Instagram: ArtbyGP6

Zorica Cica Obradovic

Sat, 07 Dec 2024 13:48:12 GMT

ZORICA CICA OBRADOVIC

An internationally recognized artist currently based in Sweden, Zorica Cica Obradovic has made a significant impact in the art world. She has showcased her captivating artwork at prestigious venues, including Art Nordic in Copenhagen, and The Holy Art Gallery, with exhibitions held in renowned cities such as Milan, Paris, and New York. Her unique style and creative vision have garnered attention from art enthusiasts and collectors alike, highlighting her contributions to contemporary art on a global scale.

Four prestigious recent award nominations:

• Recognition for high artistic quality for International Luxembourg Art Prize 2024 • Pinacothèque museum.

• VAO/Certificate/Longlisted for the International Emerging Artist Award • Visual Art Open 2024 UK

•VAA/Certificate/Longlisted for the Visual Artist Association Artist of the Year Award 2024.

• BOOMER /Certificate of Participation recognition of creative pursuit Boomer Art Prize 2024

As an innovative artist, she continually incorporates a wide array of diverse mediums onto her canvas, skillfully blending everything from traditional brushes and vibrant acrylics to rich oil paints. Her creativity even extends to painting on unique surfaces, such as plates that are beautifully adorned with sustainably sourced 23K gold, adding a touch of luxury and environmental consciousness to her work. Through her art, she not only expresses herself but also conveys powerful messages that resonate with viewers on a profound level. Art serves as a universal language that embodies strength and resilience, capable of connecting individuals and communities across the globe in an inspiring tapestry of shared emotions and experiences.

Website: zc-art.net

E-mail: zoricacica@hotmail.se
Instagram : ___z.c___

Pedro Kubrick

Wed, 30 Oct 2024 15:40:30 GMT

Hello my artistic name is Pedro Kubrick and I am a digital artist, specialized in creating immersive 3D digital artworks for both personal collections and large exhibitions,

I started this artistic path 4 years ago, always passionate about the futuristic vibes that are reflected in my works, my works were featured in the Japanese magazine 365artplus_magazine, specifically in the case dedicated to the surrealist world and tattoo art. Also my works have been present at the futuristic conference on blockchain in Toronto, Canada.

My digital creations, often surreal and experimental, have complex sensory narratives enhanced by music. Using 3D software, I build immersive worlds, challenging the boundaries of digital art with innovation and emotion. The essence of my works is intertwined with the concept of creation. This year, a transformation has permeated my creations with softer tonalities, exploring pastel tones, although neon persists as an essential element that must always be present in some corner of my works. My artistic vision is to reflect on the phenomena of the universe, exploring the constant transformations we live through surreal characters immersed in a world of fluorescent colors.

One of my latest works [Molecular Resonance] explores the interaction between technology and humanity in a futuristic setting. The red lines, feeding the balloons, suggest control over the space. The “push” button invites the viewer to participate, releasing the balloons, which symbolize celebration and joy. This contrast between technological control and liberation reflects how human interaction can generate moments of happiness in an artificial world, altering perception and creating an emotional resonance.

I currently work at the digital advertising agency Jelly creating audiovisual content for Sony music's social networks. In my free time I continue to develop all my free creativity and with a lot of inspiration that flows in every moment, the art world makes me vibrate high and I hope that in the future I can channel and see my works in different formats both tangible and digital, always experimenting and delivering multiple results.

I am also very excited to tell you that I participated in the wonderful exhibition on June 22, 2023 with 3 of my works in Times Square NYC, in this exhibition there were about 60 artists from around the world. After this exhibition I was present in Artist talk magazine with my printed works. My artworks Can be printed on demand to be framed as paintings for your homes and I also have them for sale as NFT.

The solstice begins!

Mon, 28 Oct 2024 14:00:13 GMT

A new solo exhibition by the talented artist Olga Goldina Hirsch, titled "The Solstice Begins!", recently took place in the vibrant area of Fitzrovia, specifically within the Coningsby Gallery, in collaboration with Katrine Levin Galleries. The exhibition was expertly curated by Irene Kukota, who helped to highlight the innovative nature of Hirsch's work. The pieces showcased in this exhibition punctuate a significant development in the artist's evolving practice, which deeply investigates conceptual abstraction. Hirsch skillfully explores the possibility of representing episodes of long-lost memories on the two-dimensional plane, engaging viewers with her intricate creations. Through the use of spatial depths and layers of transparent tones, she invites us to experience a visual narrative that resonates with both personal and universal themes.

The exhibition sets one on a metaphorical journey through the eternal cycles of the Solstice, unfolding the profound themes of life to death and ultimately from death to rebirth. Each piece invites viewers to reflect on their own experiences of these transformative cycles. The artist's works are distinctly oneiric in character, intricately delving into the complex issues of identity while exploring the internal spaces filled with dreams and recollections. Through evocative imagery and rich textures, the exhibition encourages a deeper contemplation of how our past shapes our present and future, inviting us to ponder the interwoven threads of existence that connect all living things.

In the words of Olga Goldina Hirsch: "a solstice occurs twice a year. The solstices are traditionally considered to signify the start of summer and winter. One brings in warmth, the other one ushers in cold. Each solstice marks a shift in rhythms and moods, in which we live and create. Twice a year during the solstice we are given a chance to examine our past and sketch out our future".

Space Sex Hoop: Reimagining Life in Zero Gravity

Thu, 24 Oct 2024 16:15:20 GMT

In the avant-garde world of Cheng, the boundaries of human interaction are not just pushed; they are launched into orbit. His latest installation, the "Space Sex Hoop," is a daring exploration of intimacy and physicality in zero gravity, a topic that is as titillating as it is thought-provoking.

The Concept

The Space Sex Hoop is a marvel of minimalist engineering and maximalist imagination. Consisting of metal rings encased in soft fabric, these hoops are designed to be secured anywhere using elastic ropes. In the zero-gravity environment of space, these rings provide essential anchor points for sexual activity, preventing the awkward and potentially hazardous drifting and rotation that one might experience while floating. Think of it as the Kama Sutra meets NASA's Johnson Space Center.

Transforming Everyday Activities in Zero Gravity

Cheng's work is not just about the mechanics of space sex—though that's a conversation starter at any dinner party. This installation is a deep dive into how zero gravity transforms basic human activities. Imagine trying to put on pants when your legs keep floating away, or dining when your soup won't stay in the bowl. Cheng’s Space Sex Hoop forces us to reconsider these everyday activities, making us ponder the complexities and beauty of human interaction in a new context.

T his project is a testament to Cheng's unique philosophical perspective. He has a knack for turning the mundane into the extraordinary, asking us to look at our world through a lens that is simultaneously practical and poetic. The Space Sex Hoop is not just an object; it is a statement about the adaptability and creativity of the human spirit.

The Captivating Blend of Aesthetics and Utility

What makes Cheng's installation particularly captivating is his ability to blend aesthetics with utility. The hoops, though simple in construction, are visually striking. They float gracefully, soft fabric shimmering in the artificial light of a spacecraft, inviting interaction. But beneath this visual appeal lies a profound practicality. In space, where every movement is a negotiation with inertia, these rings provide the necessary stability for intimate human connection.

T his balance of form and function is where Cheng excels. His rapid prototyping skills allow him to transform abstract concepts into tangible experiences swiftly. Each iteration of the Space Sex Hoop has been meticulously tested and refined, ensuring that it not only looks good but works perfectly in the weightless void of space.

A Playful Yet Profound Exploration

As a critic with more years in the art world than I'd care to admit, Cheng's Space Sex Hoop strikes me as a work that is as much about the future of human interaction as it is about art. It’s a reminder that art is not confined to galleries and museums but can venture into the realms of science and exploration. Cheng’s installation is a bold statement that challenges our preconceptions and expands our horizons. M oreover, it is delightfully cheeky. There’s a certain irreverence in addressing such a taboo subject with the seriousness of a NASA engineer. Cheng manages to be both playful and profound, inviting us to giggle while simultaneously pondering the deeper implications of his work.

Cheng’s Visionary Leap into Space Art

Chandler Cheng, a 3D artist and associate lecturer based in London, excels in 3D modelling, rendering, and artwork creation. With experience as a product designer and teaching at UAL, Cheng's passion for design shines through. He is known for his precise communication and ability to craft visually striking and meaningful works.

C heng's Space Sex Hoop is more than an art installation; it is a visionary leap into the future of human experience. It’s an audacious blend of art, science, and philosophy, challenging us to rethink how we live and connect in environments beyond our home planet. In a world where space travel is becoming increasingly feasible, Cheng’s work is not just relevant; it is essential. It invites us to imagine a future where human connection transcends the bounds of Earth’s gravity, a future where art continues to lead the way into the unknown.

I n the grand tapestry of contemporary art, Cheng's Space Sex Hoop stands out as a testament to the power of imagination and the endless possibilities of human creativity. As we look to the stars, Cheng reminds us that even in the vast emptiness of space, human connection remains a vital and beautiful endeavour.

The Origin of Toub: Muatasim H. Omer’s Artistic Portrayal of Sudanese Heritage

Wed, 16 Oct 2024 18:51:52 GMT

Muatasim Hussien Omer, a Sudanese visual artist born in Omdurman in 1957, has dedicated his life to capturing the rich cultural tapestry of Sudan through his art. With a Bachelor’s degree in Fine Art (B.F.A) obtained in 1984 and a Master’s degree (M.F.A) in 2010, both from the Sudan University of Science and Technology, Muatasim has developed a unique visual language that blends Sudanese heritage with abstract expressions. His career has spanned decades, marked by teaching roles in Sudanese universities and exhibitions worldwide, from Sudan to the UK, USA, UAE, and the Sultanate of Oman.

Among his most striking works is the 2021 painting “The Origin of Toub”, an oil on canvas piece measuring 75x90 cm, which is part of his Kushites Artwork Series. This series, like much of Muatasim’s work, serves as a visual narrative that celebrates the cultural essence of Sudan. The Kushites series reflects Muatasim’s ability to transform historical and traditional themes into modern abstract art, inviting viewers to interpret his works through their own lenses.

“The Origin of Toub” draws inspiration from the Toub, a traditional Sudanese female attire, a long, continuous piece of fabric measuring 450x120 cm that is worn by women on various occasions. The painting portrays four abstract female figures, dressed in vibrant Toubs and standing closely together, symbolizing unity and deep familial bonds. The profound sense of connection between these women is central to the piece, reflecting the strength and resilience that is deeply rooted in Sudanese communities.

Muatasim's time in the USA from 2000 to 2004 and participation in the International Visitor Program (Young African Leaders Program – YALP) in 1992 influenced his approach to incorporating cultural elements into his art. These experiences broadened his perspective, allowing him to infuse his Sudanese roots with new artistic techniques. This blend is evident in “The Origin of Toub”, where the background features symbols of Sudan’s diverse landscapes. From the traditional wooden fishing boats along the Nile to the ancient pyramids of Al Bajrawiya and camel-riding nomads traversing the deserts.

Complementing this painting is an archival photograph of a Nubian woman in a Toub, adorned with silver and bead jewelry. Sourced from The J. Paul Getty Museum in Los Angeles, the image provides a historical reference, connecting Muatasim’s abstract portrayal to the lived experiences of Sudanese women from generations past. This combination of visual art and historical imagery creates a bridge between the past and present, inviting viewers to explore the cultural continuity of Sudan.

“The Origin of Toub” is more than a single work, it is a testament to Muatasim H. Omer’s role as a visual storyteller. It encapsulates the beauty, resilience, and unity found within Sudanese traditions and reflects his lifelong journey of artistic exploration. Through this painting, Muatasim invites the world to witness Sudan’s vibrant heritage, offering a window into a culture where the past and present seamlessly intertwine.

Erin-kate O'Hara

Tue, 15 Oct 2024 18:50:38 GMT

Iker García Barrenetxea, Spanish artist: Balls Pond Road reflects the everyday life of east London

Sat, 05 Oct 2024 16:50:44 GMT

Iker García Barrenetxea, Spanish artist: Balls Pond Road reflects the everyday life of east London.

Spanish artist Iker Garcia Barrenetxea has been selected by Artist Talk magazine to exhibit his work Balls Pond Roadat the iconic stations in London's iconic and Oxford Circus metro stations. The exhibition, which coincides with the prestigious Frieze London art fair, will show Barrenetxea's work on the displays of the escalators, where thousands of Londoners and international visitors will be able to enjoy their work every day. Balls Pond Road, a piece deeply connected to his time in London, has previously been exhibited at several art events in the British capital, and his selection for this initiative represents an important recognition of his career and artistic career.

Artist Talk magazine has selected your work Balls Pond Road to showcase it on the displays of the escalators of two iconic London Underground stations such as Leicester Square and Oxford Circus. What does this mean for you? How was the selection process?

I am happy to see my work on display in a place as iconic as the London Underground. I presented a work for the contest that the magazine published on Instagram, and in a short time they confirmed to me that my work would be part of the exhibition.

Why did you decide to participate with this particular work? What does Balls Pond Road mean to you?

It has a special meaning for me, as it is deeply linked to my time in London and its journey as a work. He exhibited it at events such as the Hackney Wick Festival, The Vyner Studio, and at a design agency in Clerkenwell. Then I sent it to my studio in San Sebastian, and it was acquired by a foundation in Denmark. In addition, the Gordailua, Gipuzkoa Patrimony Collections Center, acquired a special edition, which fills me with pride.

Do you think this marketing strategy will be useful for your career as an artist, especially considering that the projection of your work coincides with the celebration of Frieze London?

Undoubtedly, during Frieze London, the traffic of international curators, gallers and collectors increases significantly.

Balls Pond Road is a famous street in the Dalston district. What inspired you to capture the moments on this street in east London?

I was inspired by the everyday life of east London, places that, although not iconic, are full of history and character. I wanted to capture the contrast between the urban hustle and the quiet moments I watched, like the ones I saw from the bus on the way to work. That mix of constant movement and moments of introspection is something that caught my attention.

Hackney Wick, Brick Lane, Bethnal Green, Shoreditch... Many of your works reflect different corners of East London. Why this focus on that part of the city?

East London was my home for nearly two decades, and the daily rhythm of life in that area profoundly shaped my artistic expression. In 2003, a gallery in Mayfair extended an invitation for me to exhibit at the Mall Galleries a dream come true to present my work in the city, which prompted me to broaden my series of urban landscapes. This region of London serves not only as the backdrop for my creations but also as an ever-flowing source of inspiration, embodying the diversity, creativity, and ongoing transformation that define the essence of the city.

Do you think this obsession with east London has anything to do with the fact that your gallery, The Vyner Studio, was located there 11 years ago?

The Vyner Studio, with its natural light and views of the Canal Regents, was the perfect place to paint. He knew the area very well and Vyner Street was surrounded by other galleries, creating a vibrant arts community. Especially during the First Thursdays, there was a great artistic environment, which made it an ideal space to work and connect with other creatives.

What memories do you have of that time? How was the art world moving in that area compared to the present?

I remember the creative boom of Hoxton and Shoreditch in the early 2000s, when the area went from being marginal to being in full effervescence. Galleries such as White Cube and Flowers coexisted with trendy bars, strip clubs and graffiti from , creating a fascinating mix. Brick Lane's industrial spaces were used for charts and pop-ups, and later for fairs such as The Other Art Fair. First Thursdays generated a steady flow of visitors. Today, online platforms and social media have transformed the way we promote, discover and acquire art, which has changed the dynamics a lot.

Remember the Spanish move of those years in London? It was a time when many Spaniards lived and worked there. How did you live that experience?

When I arrived in London in 2000, at the age of 21, it was not common to listen to Spanish. Over time, especially after the crisis, the number of Spaniards grew greatly and the community strengthened. Personally, I collaborated with several Spanish artists I met there, and at The Vyner Studio I presented exhibitions such as Barcelona Design meets London Design. In addition, I had artists in residence of the Canary Islands and Seville, which was very enriching.

Now you live in San Sebastian, you miss London? How often do you visit the city?

I certainly miss London, although living in San Sebastian has brought a positive change in my lifestyle, allowing me to enjoy more tranquility, nature and surfing. Still, I maintain a very special bond with London and try to visit it frequently. It remains an inexhaustible source of inspiration for my work.

Tell us about the new projects you're working on. Is there anything you especially get excited about at this stage of your career?

I'm very excited about my current projects. I have opened an atelier and gallery, The Droguería, in San Sebastian, and launched my new website. I am collaborating with several national galleries and participating in a collective exhibition in October entitled Puzzle. I also presented a new play titled Dream Lights for the Dantz electronics festival, inspired by dreams. I'm getting more invitations than ever, which motivates me to continue creating and exploring new possibilities.

In your opinion, what influence has London had on your artistic evolution? How does the city reflect in your work?

London, with its energy and constant transformation, has been a key factor in my artistic development. It has taught me to trust my work, to collaborate with other creatives and to explore different forms of expression. The interaction between the city and its inhabitants, the chaos and reinvention, are elements that are reflected in my work. London inspires me to create and find new ways to connect with the public.

How has the perception of urban art or art that reflects urban landscapes, as in the case of Balls Pond Road, change over the years?

The art that reflects urban landscapes is now valued as a way of documenting not only the physical space, but also the social and cultural changes that occur in those places. Works such as Balls Pond Road capture both a place and a specific moment in time, which has generated greater interest among the public. Artists like Edward Hopper and Antonio Lopez have been great influences for me, and photography and cinema have also played an important role in how we represent urban spaces and their evolution.

Balls Pond Road on London Underground

Leicester Square
Friday 11th October 2024
(10:00 – 16:00)
Entrance and exit for the Northern Line. This is a escalator for entrance and exit.

Oxford Circus
Saturday 12th October 2024
(All Day )
Exit from Victoria Line - Northbound platform 6. This is a single escalator.

From El Ibérico- https://www.eliberico.com/iker-garcia-barrenetxea-artista-espanol-balls-pond-road-refleja-la-cotidianidad-del-este-de-londres/

Hiske Bain Tas

Tue, 24 Sep 2024 07:57:58 GMT

The Hague, a beautiful city located in the picturesque country of Holland, is where I was born and spent my early years. Known for its stunning architecture and vibrant cultural scene, The Hague holds a special place in my heart as my hometown.

After finishing my formal education in The Hague, I embarked on a journey to further enhance my artistic skills by attending The Hague Academy of Visual Arts. This foundational experience allowed me to explore various mediums and techniques, deepening my understanding of visual expression. Following this, I continued my studies at The Hague Free Academy of Visual Arts, where I honed my craft and developed my unique artistic voice. My pursuit of knowledge and creativity didn't stop there; I also went on to study at The Regent College of Art in London, immersing myself in a vibrant international art scene that further enriched my artistic journey.

Being inspired by a diverse array of art styles, including Surrealism, Dadaism, and Magic Realism, as well as being profoundly stimulated by the vibrant people in society, the rich tapestry of culture, the power of music, and the depth of art, I discovered that traveling became one of my greatest passions. Each destination opened my eyes to new perspectives and experiences that enriched my understanding of the world. After having lived in captivating cities such as Paris, London, New York, and Antwerp, I eventually took up residence in beautiful Australia, where I have now lived and worked for an incredible 46 years. This journey has not only shaped my identity but has also deepened my appreciation for the diverse expressions of creativity found across different cultures.

My academic pursuits and deep fascination with Indigenous culture, combined with the awe-inspiring marvels of nature and its boundless beauty, brought me to the tribal women of Ernabella in Australia’s Northern Territory. As a Natural Therapist, I lived and worked alongside these remarkable women, exchanging insights into our respective crafts and cultures.

I have been involved as an initiate into the societies of the Australian Indigenous, American Indian, and Polynesian Kahuna Shamanism has led me to my work as an artist and teacher all over the world.

Exhibitions: In The Netherlands, Belgium, USA, Spain, Germany and Australia.

Shu Ting Chang, Magdalene

Mon, 23 Sep 2024 17:34:09 GMT

Shu Ting Chang, Magdalene, is a recent graduate from a design school in her hometown in Hong Kong. Her passion for art began in childhood, inspiring her to explore various mediums, including acrylics, watercolors, and collages.

During her university studies, she shifted her focus to interior architecture, yet art remained a vital source of inspiration for her projects. She created collages and material models, experimenting with shapes, sizes, and lighting. This journey allowed her to gain new perspectives, reinforcing her understanding that art is about exploration and discovery.

In her final year, she turned her attention to VR design for healthcare. Although these areas may seem vastly different, her openness to new possibilities and her explorations between art, interior architecture, VR technology, and healthcare showcase her adventurous spirit. She believes that adopting an innovative and curious mindset is essential for learning any subject.

After graduation, while continuing her focus on healthcare, Shu pursued her artistic journey further by exploring photography and collages. She incorporates everyday objects into her work to highlight the beauty in the ordinary, encouraging viewers to see familiar items in a fresh light. Her artwork, “Wrapped in Mystery: Collage of Form and Void,” was featured in Issue 34 of Artist Talk Magazine.

Callington School of Art

Tue, 03 Sep 2024 00:25:34 GMT

Callington School of Art - available for purchase

Eighteen years ago, my husband and I made the life-changing decision to relocate from Oxford to Cornwall to establish our own art school. We acquired a generous Georgian townhouse complemented by a two-storey stone coach house, encircled on three sides by a beautiful walled garden. Starting from the ground up, we have developed Callington School of Art over the years, which ‘Artists and Illustrators’ magazine recognized as ‘one of the country’s leading residential art schools.’ As a practicing artist, I am proud to have a studio that draws admiration from all who visit.

We attract people from all walks of life and from all over the world to work in this wonderful setting of Cornwall. We are based in the Tamar Valley an ‘Area of Outstanding Natural Beauty’ within easy reach of both north and south coasts, both Dartmoor and Bodmin Moor and of course the Tamar Valley itself. We are also close to Cotehele, a National Trust medieval estate which is popular with art guests. It is set on the escarpment overlooking the river Tamar and is very atmospheric.

Art guests come either for a six day or a three day residential course, both of which include full board. We run life drawing days and other one day courses for local artists. We also run printmaking workshops using our large flat bed press and also photographic silk screen printing using our dark room. We chose to take small numbers, up to six, so tuition is generally individual although we have many lively group discussions.

The courses are very adaptable and relaxed, once described by one of our guests as, like a house party, all eating together and exchanging ideas and thoughts at the end of the day.

As we approach retirement, we find ourselves reflecting on our journey, and we sincerely hope that there is an aspiring artist out there who would be thrilled to take the reins of the school. It brings us great joy to imagine someone ready to embrace a different lifestyle in the beautiful surroundings of Cornwall, much like we did all those years ago when we first embarked on this adventure.

If you resonate with this vision and wish to connect with us, please feel free to reach out through our website at www.callingtonartschool.com or send us an email at info@callingtonartschool.com. We would love to hear from you!

Gino Parisi

Fri, 19 Jul 2024 11:56:20 GMT

” When I look at a painting that I have finished, I have no idea how I did it and I wouldn’t be able to repaint it, I have no idea where it came from. I have the sense that it has come from something apart from me.”
- Gino Parisi

Gino Parisi has a passion for all things creative, channelling creative energy in order to manifest thought provoking abstract artwork. Parisi is an international artist having exhibited his abstract work all over Europe in cities including Amsterdam, Zurich, Berlin, Paris, London and Monaco. He has been represented by a New York art gallery and has also had his work showcased in Miami. Collectors are far afield.

Parisi’s passion for art began at an early age and has continued throughout his adult life. He says, “It is all I want to do”. His aptitude for creative vision has never left him and is continuously evolving. His personal Spiritual journey has been the momentum and driving force behind his artwork.

Recently he has worked on a series of paintings based on the Spiritual text “A Course in Miracles” also known as ACIM. Having already completed three paintings named ACIM 1, 2 and 3 that were on exhibition in London in July 2024, he says that this series will be a lifelong project. In these works, he has manifested the vibrations that the text radiates that is said to change the way the Western indoctrinated mind functions in an ego-based playground.

Parisi has a fascination with the mind. One of his most recent works named “Confliction” is inspired by the decision processes that are undertaken in the mind which create an internal mental battle between peace and suffering. The painting conveys the belief that in the indoctrinated mind the influences of fear can be overpowering if they are allowed to take control and are given strength by one's belief in them. Fears, however, are merely thoughts and are not real. The minds natural state is one of peace and this can be achieved when negative thoughts are evicted from the thinking process, hence leaving only peace. Parisi believes happiness is one's natural state.

Whilst predominantly using acrylic, Parisi is not limited to this medium and often will use a combination of acrylic, pastel and chalk in many of his paintings. However, it has not always been this way; at the start of his career his preferred medium was charcoal and hence this can still be found in many of his works today.

With no preconception of what will flow onto the canvas, Parisi allows his connection with the creative source to inspire his artwork. His creative and intuitive mind expands beyond our idea of reality to a place where creative energy flows through him and onto the canvas.

Parisi’s paintings are atmospheric and full of colour. They draw you into to an engaging and enchanted place where the mind is allowed to be imaginative and inspirational. It is in this peaceful place the viewer steps into, enabling them to explore the energetic and spiritual vibrations emitting from what they are viewing. They are encouraged to be imaginative and creative by what they see.

When viewing Parisi’s work, the observer not only uses their sight in the process but also their feelings are engaged and drawn in by the energy that is radiating from the artwork. This energy remains with the observer long after viewing the artwork, benefiting their experience and allowing them to take continued inspiration from it.

Discover more www.ginoparisi.com 

Instagram: @artbygp6

Roza Santini

Thu, 18 Jul 2024 19:32:23 GMT

“I either paint to shut down the feelings overcoming my body, or I paint to feel something.”

“There’s a beauty in darkness. I feel alive at night; that’s why I almost always paint then.”

Instagram : @rozasantini

Portfolio / Website : https://roza.crevado.com

Saatchi Art Account : Roza Santini

Massimiliano Bruno Calabresi

Wed, 17 Jul 2024 13:23:06 GMT

Satinder Parhar

Sat, 15 Jun 2024 15:55:16 GMT

Introduced into printmaking at the age of 16, Parhar has developed his printmaking skills throughout his artistic career. In 2016, he went on to complete a BA (Hons) in Fine Art at the University of Wolverhampton, followed by an MA degree in 2018. Parhar specialises in producing large scale dry-point prints.

His current work delves into the concept of empty spaces, its relationship with the viewer and the form which shapes it. Parhar explores empty spaces such as tunnels, vents, caves, fissures etc. These forms create an intervening space called an ‘interstice.’ The relationship between the three entities brings up the question of whether the entities supplement or oppose each other. It is this question, that plays a major part of his research and development. The use of black and white in his works emphasise the disparity and the unity between the interstice and interstitial space. The two colours oppose each other, yet work together. The viewer is immersed within this re-representational space through the size of the prints. Both exist in the realm of one another as one cannot exist without the other. The viewer is a mere footnote in the wider spectrum.

In recent years he has gone onto complete artist in residencies; most notably at IKON Gallery as well as win an award for his work. Parhar often exhibits around the UK. Institutions include; Wolverhampton Art Gallery, Walsall Art Gallery and Nuneaton Art Gallery and Museum. Recently he has been exhibiting and working closely with RBSA Gallery and IKON Gallery. Parhar is also a member of Wolverhampton Society of Artists, People of Print as well as being a Graduate Artist for the Royal Birmingham Society of Artists (GRBSA).

DISCOVER MORE

www.satinderparhar.com
Instagram: @satinder_parhar_art

Eric Paxton

Thu, 30 May 2024 22:52:01 GMT

Eric Paxton is a multi-talented artist based in Frederiksted on the stunning Caribbean island of St. Croix, U.S. Virgin Islands. During the day, he delves deep into the fascinating world of archaeology, using his knowledge and experiences to inform and inspire his artistry. As the sun sets, Eric's creative energy transforms as he delves into his passion for outsider and street art, creating mesmerizing abstract portraits that illuminate the night. Through a delicate fusion of oils and acrylic spray, he masterfully employs a diverse range of surfaces including wood, metal, and plastic to bring his unique vision to life on captivating panels. Drawing inspiration from a myriad of sources such as dreams, the powerful forces of hurricanes and fire, as well as the rich history and vibrant culture of the Virgin Islands, Eric's artistic expression radiates with authenticity and depth, making his work truly unforgettable.

Eric Paxton, a talented artist known for his captivating works, showcased three of his latest artistic masterpieces at the prestigious "ReBirth Spring Equinox Exhibition" held at the esteemed Caribbean Museum Center for the Arts and organized by the renowned artist Lucien Downes. This extraordinary exhibition delves into the profound concepts surrounding the spring equinox, shedding light on themes of regeneration, rejuvenation, new beginnings, and spiritual enlightenment. Notably, these three stunning paintings by Eric Paxton have garnered significant recognition and were recently highlighted in the prestigious pages of Artist Talk Magazine, further solidifying their place in the contemporary art scene.

"The MidWife" (Issue 24), "Raizing Cane" (Issue 27), and "One Year Old" (Current Issue 31), were displayed as an aligned thematic grouping with a stylistic continuity for the exhibit.

Discover More - www.PaxtonVI.com / Instagram @ericpaxtonstx / Facebook @EricPaxtonARTstx

Xianyi Zhang's Journey and Vision in 'Walking Dog

Thu, 23 May 2024 17:11:17 GMT

Xianyi Zhang - Her Artistic Journey and Upcoming Film 'Walking Dog'

Xianyi Zhang (Andy) is a London-based filmmaker and moving image artist whose artistic journey is rich with diverse influences rooted in her hometown, Shanghai, China. Xianyi's early love for writing fostered a profound introspection within her surroundings, laying the foundation for her unique perspective.

In 2018, her passion for experimental film ignited, propelling her into a realm of multifaceted artistic expressions. She pursued her artistic practice in London, earning an MA in Film from the University of the Arts London.

Xianyi's work delves into the challenges faced by individuals in urban environments, exploring themes of alienation and the perpetual quest for self-discovery. With a keen focus on underrepresented groups from a female perspective, her thought-provoking narratives examine identity, societal dynamics, and the profound depths of the human condition.

Her restrained artistic style embodies a rebellion from silence, expressing a spirit of defiance that resonates through her thought-provoking creations.

A year after her last film, “Luminous City,” which was featured in Artist Talk Magazine Issue 30, Xianyi is now working on a new project, “Walking Dog.” This project marks her first collaboration with artist Yuyue He, who is the producer of the film. “Walking Dog” is a visual poem that delves into the depths of alienation and the human desire for freedom, set against the stark canvas of urban decay. The story centers around a woman and her dog, beginning with a routine walk through an industrial wasteland that spirals into a profound exploration of independence and constraint.

In this film, Xianyi aims to capture the essence of confinement not just through the physical landscape but also through the soundscape. Working with sound designer Mark Thomas, who also designed the sound for “Luminous City,” they create a world defined by the relentless hum of industry, ever-present and sourceless, serving as a haunting reminder of the oppressive forces at play. This auditory backdrop contrasts sharply with the visually desolate environments, enhancing the sense of isolation and entrapment faced by the protagonist.

The cinematography intentionally disorients and challenges: peaceful images are juxtaposed with jarring industrial sounds, creating a sensory discord that mirrors the protagonist’s internal conflict. Collaborating with cinematographer Anastassia Anderson, they explore the most possibilities out of the space and the cameras. Often, the frames lead the character, suggesting a predetermined path; at other times, she appears trapped within the confines of the frame, struggling against the boundaries that define and confine her.

As the narrative unfolds and the dog escapes, the leash—an object of control—becomes a symbol of the invisible chains we all bear. The woman's journey to find her dog evolves into a broader quest for self-liberation, as she navigates through abandoned spaces that reflect her inner turmoil and yearning for release.

"Walking Dog" is a meditation on the silent struggles for autonomy and self-discovery. It is about breaking free from the unseen shackles that bind us and the quiet, relentless pursuit of one's own path in a world that often seems predetermined and unyielding.

This film is an invitation to reflect on our own constraints and the universal quest for freedom that is both profoundly personal and deeply societal.

Walking Dog full credits:

Cast:

Fāyfāy

Kim

Crew:

Directed by: Xianyi Zhang

Written by: Xianyi Zhang & Yuyue He

Produced by: Yuyue He

Director of Photography: Anastassia Anderson

1st Assistant Camera: Krishita Agarwal

Production Design & Makeup Artist: Bobby Cliff

Sound Recordists: Mark Rhys Thomas & Luka Minet

Dog Handler: Kyle Macfadzean

Editor & Colourist: Xianyi Zhang

Sound Design: Mark Rhys Thomas

Discover more

https://andyxianyizhang.blogspot.com/

Instagram: @andydydydydydy

Ivan Klymenko

Wed, 13 Mar 2024 15:48:43 GMT

Ivan Klymenko is a Ultra - Contemporary artist living and working in Prague, Czech Republic.

Ivan Klymenko works in different areas of painting, such as realism, impressionism, expressionism, abstractionism, figurative art, graphics, and collage.

At the beginning of his career, Ivan tried various media such as pencil, charcoal, pastel, sanguine, ink, watercolor, gouache, tempera, but currently prefers to work with oil paints on canvas.

For Artist Talk Magazine Issue 30, works were selected from a Series of paintings called BRIGHT COLORS, which were exhibited at several exhibitions.

All paintings from this series of paintings were created in the direction of expressionism painting. Expressionism - it expressed the emotional background of the author himself, who used rough strokes and bright colors for this, often without mixing them.

Ivan wanted to prove to himself that even without mixing colors, you can realistically convey what you see, be it landscape or architecture. Although it was previously believed that the expressionists were protesting against the impressionists in this way, the artist tried to soften this difference and break the stereotype.

But this is only one of the genres of painting in which Ivan Klymenko works.

Basically, the works depict places, cities and countries in which the artist visited during his travels.

Ivan Klymenko actively participates both in solo and group exhibitions, exhibits his works not only in the Czech Republic, Europe, but also abroad.

Discover more

https://ivanklymenko.com/

Instagram: @ivanklymenkoartist

Shashwati Vahadane - Contemporary Artist and Illustrator

Thu, 07 Mar 2024 12:33:37 GMT

Shashwati Sanjay Vahadane is a contemporary artist and illustrator based in the UK.

Shashwati’s love for art started when she was just a little girl growing up in India. She was always drawn to Asian art culture and tradition, and she loved to tell stories with her artwork. As she graduated Shashwati started exploring her art style in abstract, character design, and illustration.

One of the most compelling aspects of Shashwati's art is her unique representation of South and East Asian cultures. Drawing inspiration from her cultural heritage and experiences, she deftly weaves together elements of tradition, mythology, and symbolism to create richly textured narratives that transcend geographical boundaries. Through her artwork, Shashwati offers a fresh perspective on familiar themes, inviting viewers to explore the complexities of cultural identity and heritage in a strongly moving and inspiring. She is now working in contemporary art on acrylics, character design, and Illustrations. Her most used tools are pencils and acrylics.

Shashwati comes from a South Asian background herself, and she's always been proud of her heritage. In her artwork, she uses colours and symbols from her culture to tell stories and share traditions with others.

Her art isn't just about creating abstract – it's also about bringing people together. She loves to share her work on social media and connect with her fans. She's always posting pictures of her paintings and drawings, and she loves hearing from people who enjoy her art.

Looking ahead, Shashwati has big plans for her art. She will soon be publishing her work in galleries all across the UK so that even more people can see and enjoy it. She's excited to share her culture with others and show them a side of South and East Asia they may not have seen before. But for Shashwati, art is about more than just making pretty pictures – it's about making a difference. She wants her art to inspire others and make the world a better place. She believes that art has the power to bring people together, and she's determined to use her talent to spread love and positivity wherever she goes.

Her recent creations explore realms where imagination meets reality. Among her notable works is the depiction of an underwater city, a mesmerizing creation characterized by captivating textures of gold and green. Her use of mixed media and water texture gives the 3D effect to the painting which is hard to find. Through absolute attention to detail, she brings to life the complex textures of coral reefs and submerged structures, infusing the scene with depth and realism.

What sets this artwork apart is Shashwati's ability to evoke emotion and intrigue through her use of colour and texture. The contrast of gold against verdant green creates a visual symphony that captures the imagination, inviting viewers to immerse themselves in the otherworldly beauty of the underwater city.

Follow Shashwati Vahadane work and illustrations on @vsasha_abstract on Instagram or visit her site for her next update at https://sashavportfolio.carrd.co/

Discover more

sashavportfolio.carrd.co/

Instagram: @vsasha_abstract

Chantel Kemp

Sun, 03 Mar 2024 15:30:32 GMT

"Chantel Antoinette, or by moniker, C Dragon, is a multidisciplinary neo-surrealist artist based in New York City. She blends traditional & modern design and fine art principles to create a visual exploration of passion and romanticism within the human condition, often with fire used as a focal point. She graduated from The Art Institute of New York City in 2013 majoring in Graphic Design. She has worked in design fields as a creative director and designer as well as in the fine art field, being featured in numerous exhibitions and publications both domestically and internationally. Her skills include painting, photography, typography, color theory, 3D modeling, illustration and copy writing. She speaks English and Japanese. She is currently working on an oil painting series that explores the theme of childhood anguish."

Exploring the Creative Universe of Mia Delorés

Sun, 18 Feb 2024 11:17:27 GMT

In the vibrant realm of contemporary art, Mia Delorés emerges as a captivating artist whose work transcends conventional boundaries. With an unyielding passion for the brush and canvas, Mia’s art is a testament to her profound connection with the world of creativity.

Discovering the Joy of Painting:

Mia Delorés' journey into the world of art began as a personal exploration of self-expression. Her love for painting stems from the sheer joy of translating emotions and ideas onto a blank canvas. For her, art is not just a visual medium; it's a language that communicates the nuances of the human experience.

Abstract Art: A Playground of Imagination:

Delorés finds solace and excitement in the realm of abstract art. Through bold strokes and a vivid palette, she invites viewers to join her in a dance of colors and shapes. Abstract art, for Mia, is a playground where the mind can roam freely, untethered by the constraints of reality.

Painting Portraits: Capturing the Essence of Being:

While abstract art allows for boundless exploration, Mia Delorés also delves into the meticulous craft of painting portraits. Each stroke, every brush movement, is a deliberate attempt to capture the essence of her subjects. Portraiture, in her hands, becomes a celebration of individuality and a testament to the beauty of human diversity.

The Love for Art:

What sets Mia Delorés apart is her profound and unwavering love for art itself. Beyond the finished canvas, she revels in the process—the smell of paint, the tactile sensation of brushes gliding across the surface, the exhilaration of bringing imagination to life. For her, art is a constant companion, a source of inspiration that fuels her creativity and ignites a passion that burns brightly with every stroke.

Conclusion:

Mia Delorés artistic journey is a mesmerizing exploration of the boundless possibilities that art offers. From the free-spirited realm of abstract art to the intimate portrayal of individuals through portraiture, her work is a testament to the multifaceted nature of her creative spirit. Through her love for art, Delorés invites us to embark on a visual journey, encouraging us to find our own connection with the vast and enchanting universe of creativity.

RACHARIN INTOORA

Thu, 15 Feb 2024 16:42:34 GMT

RACHARIN INTOORA, an artist & designer from Thailand, Born in 1997 in Bangkok and lives in Chiang Rai.

He graduated from king mongkut's institute of technology ladkrabang, Bangkok in Architecture.

Grew up in a family that was involved with art, design and crafts. Because his father is a silver jewelry maker and mother is a jewelry designer.

He start his own studio RACHARIN INTOORA. Laboratories. His work is actually applied and adapted. The knowledge gained in architecture, design, and fine arts combined with personal experiences and preferences.

His interest is an object, material and craftsmanship and to find the harmony between local inspiration and modern techniques to reflect and up value his homeland Chiangrai province.So his artwork mostly came with his main character “NHBH” (No heart butt head) square heart shape head inspired from the weaving bamboo pattern to represent to the Northern local material and culture in a variety way.

Communicate through semi-abstract&experimental work without being fixed to techniques, materials, and types of work

In addition to paintings on paper and canvas he also have a spray paint on cardboard like “THE MODULOR” 01 and 02. The painting and engraving on aluminum sheets, or even a luggage.

“David” (2021) Digital artprint work on PVC carpet it’s an experiment about collectable art pieces, different medium and combining renaissance and pop art.

“Fragile” (2022) Sculpture works from clear&opaque acrylic It‘s an experiment in making art. with laser cutting and assembly of acrylic parts.

Popup mascot design for a group exhibition at Mae Fah Luang international Airport Chiang Rai, Thailand

“Kwai Khao Kaew” (2023) the crystals horn buffalo a legendary animals stories of Chiang Rai Province this artwork was exhibited along with other Chiangrai Artist with different legendary animals in the Thailand Art Biennale event 2023

“Acid - Blue” (2022) his clothing brand that uses the stancil spray technique to create 1-to-1 graphics on clothing.

In order to add value for second-hand clothes in the collection “Garden curator” It was an experiment in making artistic works on clothes. By using spray techniques on flowers and branches. To communicate the beauty that remains even after death. Developed further until creating the latest painting work in progress using the Sun bleached technique on local ”Morhom“ the famous Northern indigo fabric of Thailand.

“Wood Wood” (2023) The installation series is the combination between teak tree roots concrete blocks and aluminum. He works together with his father who is a craftsman. It was an experiment of taking old wood that was in my father's collection and adding value by presenting it by an installation technique.

“The blue slide door” (2023) series is the design art and mascot work with the local craftsman on a bending steel to make a slide door as an artwork. It was an experiment to up value the local steel bending technique that we can see widely In the fences and windows of local people and blend the design to the neighborhood.

and the large-scale works such as architecture “ERROR SMITH” (2023) a coffee & artspace shop in Chiang Rai Province, Thailand, which is a home business. It is a space for permanent and temporary exhibitions and sales of products such as silver jewelry, clothing, and fine art

This is a project designed by applying materials that already exist and can be found in the area under the concept of Multifunction. To be able to adjust flexibly go along the exhibition Works on display and various events

From the many works mentioned It shows that he is a person who love the freedom and enjoys variety. Give an overview of the artwork his concept semi-abstract&experiment way that has no fixed meaning give the audience a chance to be interpreted in many different ways. Through different experiences and perspectives. Reveals a new possibilities of creating works of art.

Hillary Hava Mizrachi

Wed, 14 Feb 2024 08:34:43 GMT

Meet Hillary Hava Mizrachi, a celestial artist whose deep connection to spirituality, nature, and the cosmos shines through her captivating artworks. Inspired by the beauty of stars, galaxies, and earthly landscapes, Hava weaves spirituality into every brushstroke. Her vibrant paintings serve as portals, urging us to contemplate our place in the vast and mystical tapestry of existence."

Hava invites viewers on a visual journey through the cosmos, where each piece tells a unique interstellar story.

Embark on a cosmic odyssey through the lens of this visionary artist, Hillary Hava Mizrachi.

Inbal Kristin

Mon, 12 Feb 2024 14:41:57 GMT

Inbal is a multidisciplinary artist. In her works she usually combines different mediums: photography, painting and digital editing. Inbal won competitions and prizes in Milan, Venice, London, Prague, Barcelona, Paris, Florence, Turin, Rome and Hungary and participated in exhibitions, biennales and international festivals around the world: Italy, Hungary, Greece, Spain, France, England, Switzerland, Israel, Hong Kong, Turkey, Czech Republic, Philippines, Nepal and Scotland. Her works have been published in international magazines and books. She presented 2 solo exhibitions in Italy (in Bologna and Bari).

In her photographs there is always an emphasis on a complex of shapes, colors, textures and shadows

Naiting Huang - The sweet whisper between a room and one's own

Mon, 05 Feb 2024 14:54:03 GMT

Naiting Huang, an artist hailing from Taiwan, is currently leaving her creative imprint in the vibrant city of London. She graduated from Kingston School of Art in Communication Design: Illustration MA. Thoughtfully navigating the realms of painting, illustration, design, and ceramics, she adeptly explores diverse mediums in her artistic journey. Through this exploration, she delves into self-discovery and intricately weaves sentimental memories into her paintings, revealing a tranquil world adorned with captivating colors. Her work artfully documents sweet dialogues between her objects and spaces.

In her painting series “A Room of One’s Own”, crafted in 2023, these paintings were featured in ArtistTalk Magazine Issue 29, embodying her belief that an artist’s style is intricately shaped by personal space nuances. Naiting captures the essence of her ordinary yet enchanting daily life. Each canvas weaves together vibrant hues to construct serene images, offering a glimpse into the tapestry of her days. Through the interplay of colours, viewers are invited to discreetly witness the pieces of her daily life, as if peering into the poetic chapters that shape her artistic perspective. The series becomes a visual diary where the canvas transforms into a mirror reflecting the artist’s ordinary days and emotions. Reflecting on her six years of life in London, the series serves as a profound self-dialogue for her, beginning with the painting ‘Self-dialogue’—a portrayal of personal growth as a girl talks to herself in a mirror, observing her transformative journey during her time away from home.

Residing abroad for several years, she discovered that painting served as a remedy for her loneliness and the challenges she faced. Through painting and capturing the cherished corners within the spaces she wanted to etch into memory, she found solace. This creative endeavor not only alleviated her anxiety but also contributed to her self-awareness, offering a reflective journey into her current state. It served as a reminder of the sweet life she had intentionally created for herself in this new phase of being.

Naiting’s artworks feature antiques, pottery works she made, and everyday scenes. Each brushstroke of acrylic on canvas invites the audience into an intimate dance between intention and spontaneity, embracing imperfection through her intuitive strokes. Naiting’s pieces offer a gateway into her serene world, encouraging viewers to engage in the everyday scenes she gracefully depicts and to discover beauty in the unexpected corners.

Her artistic journey aims at compelling narrative, intertwining the threads of her exploration across mediums playfully. Within the series "A Room of One’s Own," her artistic dialogue served as a visual diary, capturing her everyday scenes and the emotional hues that illuminate her eyes. Naiting’s work invites the audience to explore the profound connections between personal space, self-discovery, and the enchanting colors of a life well-loved.

Naiting recently displayed her works in several exhibitions at Candid Arts Gallery in London, The Holy Art Gallery in London and Athens, and held a solo exhibition, "A Room of One’s Own," at Chikafe in Taipei.

Discover more

www.naitinghuang.com

Instagram: @by_naiting

Doi Coimbra

Sat, 30 Dec 2023 16:34:58 GMT

Always passionate about photography and fascinated by the aesthetics of things, self-taught, i began to take a concrete interest in a specific style of painting, that of abstract painting, in particular (but not only) pouring and fluid art. This scenario has always attracted me, to the point of seduction. Seeing in the lines, shading, contrasts, shapes and images apparently without order and meaning, an interesting context and way to give shape, through a subjective interpretation, to one's own imagination and unconscious. Since it is abstract painting, what can be seen in my canvases obviously should not be subjected to an analysis that seeks, in the observed elements, forms or meanings that must necessarily be reconnected to something specific existing in the real world.

The combination of abstract art and mind leads us to consider the artwork an inner element, corresponding to the expression of the artist’s soul, which rekindles in the observer both an immaterial condition of empathy and also a dimension that matches the material form capable of expressing that vibration. Different aspects of the actual form move into a secondary position, with respect to the essentialness of the emotional communication. To simplify, we can state that abstract art is capable of generating emotional vibrations that, as in the case of sounds, can produce an emotional response even without telling a story. So, those who observe, whether they are aware or not, facing a series of stimuli originating from the combination of colours and shapes, react emotionally, It’s fair to say that based on this and depending on the circumstance, these passages and reactions can be experienced by the viewer in a conscious or unconscious way. Starting from this justification we can take inspiration for another interesting consideration about this topic. In fact, considering the two classic groups of observers, i.e. those who are involved in abstract art and those who remain indifferent to it, we hear that to not appreciate the beauty of abstract painting is based on the inability to interpret lines, shapes, shades and colours on the canvas; this could generate a disinterest for the painting (there is no need, but let us remember: obviously personal taste leads to specific interests and preferences, and so it is also for figurative art).

However, an increasingly held belief is that abstract art brings certain advantages for those who are connoisseurs; for example, its ability to mentally influence seems objective. In fact, scientific studies would confirm that it has an effect on our general cognitive state and is able to change the way we consider events and make choices, tending to evoke a certain “psychological distancing”. By psychological distancing we mean the subjective space that we perceive between ourselves and things, events, or people; it is an experience of separation based on an egocentric nature, where we become the point of reference from which we see things in perspective. Implementing a psychological distance, according to the field of psychology, makes us more inclined to recognize the limits of our knowledge, as well as to accept the probability of future change, making us more self-aware, flexible, and open to uncertainty.

Margarita Howis,

Wed, 20 Dec 2023 18:58:50 GMT

Margarita Howis, a rising star in the world of contemporary art, claimed the spotlight at Offset's private birthday celebration in Miami's Coco club with an exclusive portrait of the rap sensation. This visually stunning tribute captures the essence of Offset's unique persona and his profound influence on the hip-hop culture.

Offset, visibly impressed by the artwork, proudly showcased the masterpiece during the private event. The buzz reached new heights when TMZ and DailyMedia featured articles covering Offset's birthday, prominently displaying him with the captivating painting.

Now, Margarita Howis steps forward to officially reveal herself as the talented artist behind the iconic Offset portrait. With an impressive career spanning seven countries and multiple galleries worldwide, Margarita brings a fresh and dynamic perspective to the evolving landscape of contemporary art.

This exclusive piece showcases Margarita's ability to capture the spirit of her subjects, infusing each work with a vibrant energy that transcends traditional portraiture. Her dedication to celebrating authenticity and inspiring self-discovery is evident in every stroke. Notable figures in the music industry, including Snoop Dogg and Dani Leigh, have recognized her work.

In a recent feat, Margarita showcased her talent at Art Basel in Miami last week. The events featured live paintings, art exhibitions, and even a fashion show where she launched a new series of hand-painted garments in collaboration with renowned designer Winston Bartholomew, the winner of the second season of HBO's 'The Hype' show. Her global profile is constantly on the rise - Margarita delivered a powerful speech and exhibition at the UN Headquarters in Geneva. The event underscored her commitment to using art as a platform for impactful conversations, a testament to the artist's influence on the global stage.

The one-of-a-kind painting goes beyond conventional fan art. It captures Offset's captivating gaze, roses tied to his iconic dreads, adorned with a gold circle on a black background, serving as an artistic expression of resilience, strength, and personal identity. The golden bees on his garment pay homage to designer Winston Bartholomew and tie into Margarita's collaboration with 'Icons in Barth.'

In a statement, Margarita said, "This piece is a celebration of his unique influence and artistic persona. It was an honor to contribute to his birthday celebration, and I'm thrilled that he and his team loved the artwork. Art has the power to connect people, and I hope this piece resonates with fans and art enthusiasts alike."

Margarita Howis is no stranger to creating impactful art that transcends boundaries. Her work has been exhibited globally in renowned galleries in Copenhagen, Paris, Montreal, Miami, and New York, establishing her as a prominent figure in the international art scene.

Intrigued by Margarita Howis's captivating creations and her ability to push artistic boundaries? Stay tuned for what she unveils next. Follow her artistic journey on Instagram @margarita.howis and explore more on her official website https://www.ritahowis.com/. Witness the evolution of her unique vision and discover where her art takes her next.

Emerging in Abstract Expressionism at Art Basel Miami

Tue, 19 Dec 2023 12:58:49 GMT

Miami Beach, FL — In the evolving art world, discovering an artist like Tatyana Bondarenko, known for her distinct and emotional style, is intriguing. Recently featured at Art Basel Miami, Tatyana is gaining recognition in contemporary art. Hailing from Russia, she's found a receptive audience in notable art centers like Miami. Her life is a mix of two roles: by day, she works as a financial data visualization professional, and by night, she delves into her passion for abstract expressionism. Tatyana describes herself as an "eccentric mixture," effectively integrating her analytical skills with her artistic creativity. Her approachable nature and diverse abilities contribute to her unique presence in abstract expressionism.

Art Hearts Fashion: Blending Fashion and Art

The https://artheartsfashion.com event, held alongside Art Basel Miami, provided an ideal setting for Tatyana's introduction to a broader audience. From December 7 to 10, the event showcased the intersection of art and fashion, drawing attention in the Art Basel community.

Event Highlight at High Bar, Dream South Beach

A key moment for Tatyana was on December 9 at the Dream South Beach, Miami Beach, FL. In a 1970s-inspired rooftop environment, her art was exhibited with fashion shows from labels like Morfium Fashion, Love For Upcycling, and RICHERETTE by Club Kid Richie Rich. This venue underlined Tatyana's ability to blend her art with the lively fashion scene. Her approach to abstract expressionism, characterized by its vivid and emotional content, matched well with the creative atmosphere of the event.

Conclusion: Contributing to Abstract Expressionism

Tatyana Bondarenko's participation at Art Basel Miami marks her as an emerging artist in abstract expressionism. Her work, notable for its emotional depth, harmonizes with the energetic fashion scene, suggesting the start of a promising new trend in the art world.

Tian Gan

Mon, 11 Dec 2023 16:35:07 GMT

Tian Gan, a concept artist at Bad Robot Games, a video game fraction of JJ Abrams’ Bad Robot Production. Tian has participated in various famous video game IPs, such as Silent Hill and Pac Man. Her distinctive creativity and designs have been honored with prestigious national and international illustration and photography awards, and her work has been exhibited in various notable gallery exhibitions and publications.

In “Los Angeles 2080”, she uses her outstanding artistic talents and creativity to create a photo-illustration by manipulating a photograph she took of Downtown Los Angeles. Tian designed the lighting and set by mixing this photograph with others she took during a photoshoot to create an image of what she believes Los Angeles will look like in 2028.

In the two pieces of “Dragon Island”, Tian shows her exceptional ability to use bold colors to create unique visual design. She also has a distinct ability to create shape language in order to bring her ideas to life. Tian's wild and bold imagination allows for the creation of unique and extremely detailed concept art.

In “Home & Mom”, Tian brings her solid 3D modeling skills to her creative process. She pays attention to every detail in real life, in order to create a scene that evokes an emotional connection with the audience. In this piece, she uses the lighting and the shape of the stairs to create an innovative composition.

These artworks have been recognized with prestigious industry awards such as Applied Art Awards, Creative Quarterly 72, Creative Quarterly 73, 3x3 International Illustration Awards, and Art Director Club 102th Annual Awards.

Website: https://tianganart.com/

Artstation: https://www.artstation.com/kuku_gan

Dilara Koselioren

Wed, 08 Nov 2023 12:23:28 GMT

Existence

Residing in densely populated cities, where we often remain oblivious to our neighbors on the same floor, is a shared experience for many worldwide. Approximately 55% of the global population, amounting to roughly 4.3 billion people, can relate to the challenges inherent in urban living.

While urban areas offer abundant opportunities, quality education, and healthcare advantages, it is imperative to consider the impact on our mental well-being. Are we, as human beings, truly designed to thrive in towering skyscrapers and occupations that breed constant stress? As we continue to evolve, are we the generation that has successfully adapted, or are we merely striving to strike a harmonious balance amidst the chaos for the sake of future generations?

As an artist, my aim isn't to provide answers to these questions, but rather to provoke viewers with these simple questions that often go unspoken. It's only natural for us humans to adapt to our living situations and eventually stop questioning them. As an artist, I'm not advocating for a complete departure from big cities and urban life, as that wouldn't be fair since I myself live in a big city. However, I do want to initiate conversations about how we can improve our current living conditions. Are activities like spending time in small parks or visiting spas on weekends truly enhancing our lives in metropolises? Unfortunately, these opportunities are not feasible in certain cities due to a lack of green spaces, financial limitations, or simply a lack of time due to work commitments.

I utilize Graphic Art as a means to convey my emotions through my artwork. Whether residing in bustling cities or not, the majority of the global population is exposed to various forms of technology, constantly immersed in a visual world of online and printed images. While this technological advancement has its benefits, it also desensitizes us to the abundance of videos and graphics that inundate our phones, laptops, and other devices. Consequently, I choose to primarily create Graphic Print Art so that viewers can experience my artwork in person, free from the confines of screens. In the fast-paced world we inhabit, where encounters with thought-provoking images are rare during our daily commutes, if I can make people stop and think in there busy metropolitan life styles even for a second these moments become all the more significant in my artistic practice.

I would like to express my gratitude to the team at Artist Talk Magazine for this opportunity, as well as to the readers for taking the time to peruse my thoughts.

Discover more - Instagram: @dilarakoseliorenart

Luciana

Tue, 24 Oct 2023 19:25:36 GMT

lluminated One.We are all light beings.. .Einstein.

L uciana Fabiilli, the artist, beautifully captures the essence of spiritual truths in her body of work.

In her painting titled "Illuminated One," the spiritual element is strikingly apparent. Luciana portrays a figure in a trance-like state, exuding an air of grandeur reminiscent of Egyptian elites, distinguished by their usekh jewelry collars.

The woman is bathed in a soft, pale blue light, resembling the gentle glow of moonlight, which envelops her and creates an aura of illumination. The depiction of nature in the artwork is equally captivating, with pulsating trees and curved slopes that seem to come alive on the canvas.

As spectators, we are invited to experience an inner transformation, witnessing the enlightenment of this woman. She awakens to the present moment, attaining heightened awareness through her connection with nature. This awakening leads her to embrace the spiritual truth that we are all interconnected beings of light.

"Illuminated One" is a profound painting that explores themes of transformation, awakening, and a profound remembrance of our true nature as spiritual beings.

https://linktr.ee/lucccibella

www.instagram.com/lucccibella/

Jaana Kivi

Mon, 16 Oct 2023 13:59:27 GMT

Jaana Kivi (1985) defines her artistic style as a captivating blend of surrealism, magical realism, and a hint of abstract. As a highly skilled artist, she possesses a remarkable range of talents, effortlessly navigating various mixed media styles and employing classical oil techniques with precision. In 2023, Jaana participated in numerous exhibitions, including captivating solo shows held in renowned galleries throughout Finland. Her most recent solo exhibition, "New World Space Girl Order," mesmerized viewers and garnered overwhelmingly positive feedback from visitors.

In September 2023, Kivi unveiled a captivating collection of artworks. Her most recent creations delve into the intricate relationship between artificial intelligence and humanity, exploring the role of consciousness within this fusion. Aptly titled "Do Androids Dream of Cosmic Dreams?," the series pays homage to the brilliant mind of Philip K. Dick , a renowned science fiction master. His influential work, "Do Androids Dream of Electric Sheep?," serves as a profound inspiration for Kivi.

As a devoted aficionado of science fiction, Kivi harbored a deep curiosity to delve into the depths of artificial intelligence. With her exceptional artistic process, she transformed her visions into a captivating array of artworks. "Do Androids Dream of Cosmic Dreams?" encompasses pieces that seamlessly blend experimental mixed media styles with classical oil painting techniques. Kivi fearlessly elevates her oil painting style to new heights with thick, bold brushstrokes. Introducing the novel approach of coarse strokes created by a palette knife, she brings the essence of human skin, or even humanity itself, tantalizingly close to the beholder.

Delving into the realm of consciousness, Kivi masterfully paints vibrant, abstract backgrounds enriched with an array of textures, splashes, and drips. She skillfully demonstrates how her artistic process exudes strength, boldness, and definitiveness all at once. Infusing her artworks with a palpable energy, Kivi subtly embeds unresolved enigmas, prompting viewers to ponder the true essence of consciousness and its potential for replacement. Even in a world where machines can replicate many facets of our existence, will they ever lay claim to our dreams?

Do Androids Dream of Cosmic Dreams? features a stunning collection of ten expansive mixed media and oil paintings. This remarkable series pushes the boundaries of Kivi's artistic expression, as the artist fearlessly delves into new realms with an experimental approach. Experience the entirety of this captivating series on the artist's website, www.jaanakivi.com.

Nelya Akimova

Tue, 03 Oct 2023 19:02:30 GMT

I am an artist Nelya Akimova (NELYA-NAKI), who creates oil-on-canvas paintings and also works with digital photographic art.

My primary focus of research lies in understanding the deceptive essence of our reality and encouraging the observer to adopt a fresh perspective on our world -

"Welcome to the Game on Earth!"

What if it's true that our whole life on Earth is a big GAME, and we are all just AVATARS? And we have the ability to choose our destiny for the next 100 years?

So, in my art, I rethink the reality of the existing world and create various possible versions of human destinies and AVATARS.

My artwork serves as a metaphorical representation of snow-covered concrete slabs, adorned with captivating imagery. It is a collaborative effort, where my hands bring these images to life, while my soul and mind harmoniously craft the narrative.

I use an intuitive process, applying paint to the canvas without a preconceived idea of how the composition will evolve; figures emerge out of the white expanses of paint and my subconscious.

Today, we find ourselves shattered, as fragile as shards of glass. Unsure of where to turn or how to gather our scattered selves. However, I comprehend that by embracing each broken fragment, there lies hope and the chance to rebuild. The metaphor of concrete beautifully illustrates the formation of a new individual who values and cherishes themselves, thus treating others with kindness and consideration.

"God is playing a game on Earth with avatars", Size 100x120 cm, oil, canvas, 2023.

What if it's true that our whole life on Earth is a big GA ME, and we are all just AVATARS? Then who is the real player?

"Life is like a lost subway car going to eternity" Oil, canvas, 100x120cm, 2019-22

For countless years, this subway car has remained shrouded in enigma, its whereabouts unknown. Then, as if by magic, it materializes one fateful day at the station. The passengers inside exhibit an eerie serenity, completely unfazed by the passage of time. Meanwhile, astounded onlookers at the station can hardly believe their eyes as they bear witness to the ethereal spectacle of the phantom carriage.

At times, when we catch glimpses of peculiarities in our surroundings, we are abruptly struck with the realization that reality itself is capricious. It gleefully taunts us, winking mischievously, and engaging us in its playful games.

In a subway car one day, I unexpectedly encountered a character I had painted three years ago. Upon returning home, I gazed at my painting and noticed the vivid outlines of the underground carriage and its passengers, ultimately bringing the artwork to life. It made me ponder, are we all participants in an elaborate game?

Paco Martín

Tue, 03 Oct 2023 15:21:27 GMT

I have always found joy in capturing the beauty of nature. When I first started using colored pencils, my focus was primarily on botanical subjects: mushrooms, fruits, and medicinal plants.

Recently, I felt a strong desire to revisit these themes. It was the sight of two tangerines resting on crumpled paper that reminded me of classical Still Lifes, which I have always adored.

By chance, I stumbled upon a tree enveloped in ivy. I spent roughly two hours taking photographs until I finally captured the perfect shot, one that exuded freshness and tranquility. It was in Bulgaria, four years ago that I began working on this piece, meticulously studying the intricate textures of the tree and the ivy leaves. Unfortunately, due to other commitments, progress on the artwork was slow. However, during the Covid-19 lockdown, I finally found the necessary time to bring it to completion. I am incredibly pleased with the final result."

Discover More - Instagram: @pacomartinart / Facebook: @paco.martindominguez

Yun Xuan Shi

Mon, 02 Oct 2023 23:28:18 GMT

Yun Xuan Shi

Yun graduated from the University for the Creative Arts with a MA in Fine Art last year. Yun has in-depth knowledge of various art media such as watercolor, acrylic, oil, pastel, Japanese pigment, metal, ceramic, yarn, wood, and digital painting. Throughout her ten years of studying art, Yun has honed her artistic sensibility, allowing me to appreciate and understand different art forms and styles.

Volunteer experiences at Watts Gallery, The Lightbox, and New Ashgate Gallery. Gallery assistant in James Hockey & Foyer Galleries and ambassador at UCA. As a curator and organizer of two successful solo exhibitions during her BA years.

Yun's artwork delves into the mysterious essence of life, taking us on a visual expedition to unravel the profound questions that reside within us: "What is life?" and "Where do we live?" These inquiries resonate deeply, stirring the very core of our existence. Through her creations, Yun embarks on a creative odyssey to capture the elusive nature of these ponderings. She specializes in employing surreal compositions that exude a dream-like quality, simultaneously enchanting and tinged with an eerie atmosphere. For Yun, each image is akin to a storybook, with each painting telling a unique tale. By employing non-realistic compositions, she allows viewers to interpret the various meanings in their own personal way.

Goldfish Island

Oblivion. Dreams. Nothingness.

Is it easier and happier to forget than to remember?
Would it be happy to remember everything even if it is small?
Comparing ourselves to each other, we lose ourselves.
Bury yourself in the depths of your dreams, and let go of your mind to move forward in emptiness.
Forget hatred and unhappiness, live quietly, and perhaps the past will not be so important with the passage of time.
Why don't we live like a goldfish?

Fairy tales

We live in a world where different stories exist at the same time. It is like a dream, some are beautiful dreams, some are nightmares, but no matter who will yearn for their lives(dreams) as beautiful as a fairy tale.
Beautiful but unrealistic.

Sophie Steadman

Mon, 02 Oct 2023 23:10:46 GMT

I am a versatile artist with an interdisciplinary approach, having recently completed my BA (Hons) Fine Art degree at The University of Cumbria.

Throughout my degree, I explored many different routes, for example creating a full-scale telephone box from MDF and timber! During the third year of my studies, I explored the act of destroying as a means to create. My degree show work was based upon the re-investment process and inquiry into artmaking itself, approaching the project through the act of destroying and rebuilding, particularly through the use of a ‘Destroying as Process’ text.

Although this area of my practice has been fairly prominent throughout my studies, I also enjoy creating work that explores the links between people and place, whilst also expressing an interest in architecture and form. This is often portrayed through my fine liner drawings, and ink drawings.

I have had the honor of exhibiting my work in various group exhibitions, including prestigious locations such as Carlisle, Middlesbrough, and Gloucester. As well as being an exhibiting artist, a friend and I curated our first exhibition for a company in Carlisle in 2022. Over the past couple of years we have also organised and hosted many art related events. During the summer, I take the opportunity to work as part of the Art Décor Team at Kendal Calling, an annual music festival in Lowther, Cumbria.

In September 2023, I started a Graduate Artist Residency alongside the same friend I have previously curated with. We are hoping that this will give us a good opportunity to develop our collective, organising events and providing art opportunities for people in Carlisle and the surrounding areas.

Malikom

Sat, 23 Sep 2023 11:06:22 GMT

Malikom, a self-taught artist, has an inherent knack for sketching that has blossomed into a remarkable expertise in diverse artistic fields. With unwavering commitment to refining his skills, he has emerged as a versatile creator adept in graphic design, digital painting, and the enchanting realm of flat design.

A French citizen, Born in Saudi Arabia from Cameroonian parents cultural background is as diverse as his artistic influences. From an early age, he delved into the realms of American comic books and their Japanese equivalent, Manga, which served as the cornerstone for his unique style.

With London as his current base, Malikom's creative spirit knows no bounds. His work has been showcased in prestigious artistic centers including Paris, London, Brussels, and Amsterdam. Every stroke in his art not only showcases his exceptional talent, but also the diverse tapestry of his multicultural heritage.

My artistic expression revolves around the fusion of colors, bodies, emotions, and the realms of spirituality and physicality. Within my illustrations, I masterfully create a vibrant and visually captivating world, infused with poetic energy and refined simplicity. It serves as a heartfelt invitation to embark on transformative journeys of escape and adventure within the depths of one's imagination.

Inspired by a fervent admiration for photography, fashion, film, and graphic novels, the core of my creative vision draws nourishment from this eclectic blend. These diverse influences enhance the depth and uniqueness of my creations, enriching my imaginative realm.

In addition, my proficiency in photography and video production provides me with a versatile set of skills that enables me to explore various artistic avenues. From captivating videos to designing comics, brand identities, and magazines, I am able to delve into a diverse range of mediums. These different forms come together to create a multifaceted world of creativity, allowing me to craft compelling narratives that resonate with both myself and others.

Discover more: www.malikom.fr / Instagram: @malikomillustre

The Lamb of God

Sun, 17 Sep 2023 13:09:41 GMT

In Christianity, Jesus is called the Lamb of God (John 1:29).

Why ``lamb of God`` ? Back in the history and context of the Bible`s Old Testament, blood sacrifices were done for the temporary cleansing of human sin. Jewish priests on those times would ask for the best quality lambs to be burnt in the altar of God for the purification of the people from sin (Leviticus 4:35). Lambs are considered as a symbol of purity and cleanliness thus, they were used for this process. In the New Testament however, this law was abolished. For the reason that, human sin is so great that it can`t be covered with temporary sacrifices. Instead of lambs; Jesus, a stainless, pure, sinless man was sacrificed ( Luke 23:33 ).

Though lambs are mostly covered in white and have simple features, I find them challenging to paint. In this painting, the darker hues are a good choice for a background. It emphasizes the light colors and it also symbolizes the blood sacrifices.

Glennie Rose Viera Rafols, MAN

bio.site/thecraftymissart

As a passionate animal lover from childhood, I have always enjoyed painting a wide variety of creatures. While achieving hyperrealistic portrait paintings is still a distant goal, I am delighted to have made significant strides in my creativity this year. Being featured in Artist Talk Magazine has also provided me with opportunities to participate in local exhibitions. It feels as though I have finally emerged from my shell and taken a leap of faith in showcasing my art to the world. Succeeding in the increasingly competitive art industry requires a great deal of passion, determination, and confidence. How far can I push myself?

At present, I seize every opportunity that comes my way and cherish each moment. Through my paintings, I share narratives that encompass my Christian faith, adoration for animals and nature, and the depths of my thoughts and emotions.

Everyone has a story to tell. I have a bunch and like somebody has said, ``There is no greater agony than bearing an untold story inside you``.

Evgeniya Zolotareva

Tue, 22 Aug 2023 11:44:30 GMT

"Evgeniya Zolotareva is a CZ based fine art artist, specializing in abstract art. She finished Art school and earned a MgA. of Arts Degree at the University in 2006. Her artwork should have the opportunity to "speak for itself" and does not need a decorative frame, but free space. She tends to create a dynamic abstraction which gravitates towards. The shapes of her paintings are often in tension and trembling, they need to expand further. Her paintings are focused on emotions and intuition, understanding shapes and colors, which are shown throughout the creative process. She sees every project as a unique exploration of curiosity and experimentation".

From the publication "The World of interiors", Vogue House

Back in the past years she worked as a graphic designer in Russia, Slovakia and Czech Republic - in Prague and Brno, making designs for a range of brands, among them are Figaro, Ritchy, Michlovsky vinery, Volkswagen, Mattoni and others. Ability to create by hand make her work field wider, she drew the chocolate and wine labels, illustrated different catalogs and children's coloring books, and designed jewelry.

But the desire to paint is overpowered and today she is happy to create art works by making an evocative story through colors, textures, patterns, wonderful forms and details which invete spectators to immerse themselves in the magical world of Evgeniya's imagination that are full of beauty, peace and adventure.

She is exhibiting internationally and in the Czech Republic. Her work is in private collections in France, Germany, USA, Japan, Poland, the Czech Republic, Slovakia and Russia and last year she was exhibiting at the STAINER Gallery, Vienna. Among her recent publications, Evgeniya has published articles in magazines such as THE WORLD OF INTERIORS, VOGUE House (UK), Artmajeur (France). She also was awarded for the best painting in 2021 by French curator Nicolas Sarazine.

Artist Statement:

My subject matter tends to be those emotional moments of finding the beauty and harmony – the in-between spaces of our lives that we see but often do not notice. For me, these paintings are about the pleasure of seeing; of being cognizant of the world around me and pushing to find an alchemy between the paint, my subject and the moment. I follow the intuition and apply the knowledge and experience. Each and every single project is a unique exploration of curiosity and experimentation.

Inspiration and Creating process:

Travel and outdoor adventure are her favorite sources of inspiration. Through the art creation she searches for a New. She experiments and does not close into one. Regardless of the chosen medium, she creates abstract art, in most cases by layering technique. She expresses through painting, concentrating on form and color. When creating her abstracts she does not impose, but gives choice for feelings and thoughts. She tries to extend my art receiver imagination by transmitting an impulse. Her paintings are more about emotions and intuition, which helps and leads her through the whole creating process. Results of creation are always unpredictable and this is what she likes the most.

Discover More - www.evgeniabstractart.com / Instagram: @ evgeniaartcz

Living planet

Fri, 04 Aug 2023 16:25:18 GMT

Living planet.

Before leaving the Solar system scientists turned around on the Voyager space probe taking a picture of our Planet - the only place in the Universe suited for human lives. As a result, a tiny luminous dot appeared in the photo…so vulnerable and so distant – our Home.

For thousand years ancient people considered Earth to be alive, respected and adored it, sang anthems in honor of it, read prayers and went through ceremonies. So that to receive its protection and mercifulness, a Gayatri Mantra was dedicated to Earth and its elements.

Greek myths say that Gaia gave birth to Uran etc , metaphorically it means that Earth created atmosphere, sky and ocean. In honor of Gaia - Goddess of Earth, one theory was called – Gaia theory. It was invented by James Lovelock, a British scientist. The theory says that Earth behaves as a live system, live organism, live body with all its features.

Environment and animate creatures are in constant interaction, therefore our planet should be considered as a united living system with a human being as a part of it.

If we equate Planet with human body and its inhabitants with organs, how can we confirm that left hand considers itself more important than liver or left ear? Earth always gives us shelter, resources and ideal conditions for living and creating.

There is infinite quantity more or less complicated animate creatures, from giant mycelia the size of 2 sq.km , whales and elephants weighing a couple of tons and breathtaking tall sequoias till tiny creatures which can’t be seen with the naked eye.

That’s why it’s literally everyone who takes responsibility for our planet. Can we consciously care about "our little planet", as Little Prince did?

Many artists of the past and present devoted their works to the Earth and its creatures.

Even my works are devoted to emphasizing the beauty of its gifts. In my work I study their reflection in reality, I observe not only the external beauty of the fruit of the Earth, but comprehend their depth and role in human life.

Animals and plants evoke a certain awe and admiration in me. I like to perceive the volume of objects and their tactile sensations, transmitting them to the viewer in my paintings. In creative process the scaling effect makes you think about the space that really exists everywhere and penetrates everything. Working on my canvases on the principle of constant approximation, I can reproduce the realism of objects with a photo effect on the canvas.

If we continue to apply this zoom effect, observing our life and the world around us, changing the scale in our imagination and distancing ourselves from the direct perception of objects, we can come to the conclusion that we humans are only part of a larger space and a reflection of the macrocosm of Ecumenical outer space.

Oksana Kolosyuk

https://www.saatchiart.com/account/profile/1716617

https://instagram.com/oksana_kolosyuk?igshid=YmMyMTA2M2Y=

A Watchful Eye

Fri, 04 Aug 2023 00:06:11 GMT

He who walks with the crowd will only go so far as the crowd goes,

but he who walks alone will go places he has never been before...Albert Einstein.

A Watchful Eye...Muse Spirit.

Luciana, a contemporary figurative artist whom is known for her distinctive signature style is a pioneer in her own right.

She has combined artistic passion and technique coupled with intuitive energy so that each painting speaks from the soul.

Originality (first of its kind), Uniqueness (one of a kind)and Authenticity ( true to oneself) of Creative energy.. are the trademarks of the Italian Artist, Luciana Fabiilli.

One can readily identify a Luciana painting by the bright bold colors, dramatic composition, dynamic strokes, elongated neck, and long nose. However, it is the eyes of her subject that seduce the viewer into the picture plane. Her subject matter is the female figure, representing always one of beauty, strength and femininity.

In the painting, a Watchful Eye, the strong presence of the female figure, with its sculptural locks of hair, bold contour strokes, stands proud on the balcony. Her stoic gaze is being watched by the gaze of the bird perched on the balcony railing. A watchful eye...the spirit messenger.

Does the bird bring news from spirit World? or

Do the woman and bird respectively represent the underlying issues reflective of our times being watched?

A watchful Eye...Muse spirit.

Abstract Dreams

Fri, 28 Jul 2023 18:50:15 GMT

I am a contemporary Ukrainian artist and art curator, based in London, UK and creating abstract paintings and ceramics. My work has been heavily influenced by my personal experience and my art is a journey of exploration of abstract forms and textures, usually inspired by traditional Ukrainian motifs and symbols. I aim to bridge the gap between the past and the present, weaving together the rich tapestry of my cultural heritage with my personal journey of self-discovery. Each brushstroke, each layer of pigment becomes a language of expression, speaking volumes about the complexities of identity, resilience, and the human condition.

In my artistic practice, I view abstract art as a powerful vehicle for self-exploration and introspection. Through the interplay of colours, shapes, and textures, I delve deep into the realms of my own emotions, memories, and subconscious. Abstract art allows me to transcend the boundaries of literal representation, encouraging viewers to engage with my work on a visceral and intuitive level. I invite them to embark on their own personal journeys of exploration and interpretation.

My art is about the celebration of freedom, diversity and self-expression. This is an ode to the resilience of the human spirit and the power of art to connect cultures and build bridges of mutual understanding.

Contacts:
https://www.instagram.com/ginger_gift/
http://nesterenkoanna.tilda.ws/
https://artrepreneur.com/dashboard?section=mArtwork&page=1

THE INVISIBILITY PROJECT

Sun, 23 Jul 2023 19:00:40 GMT

The Invisibility Project, now an official nonprofit organization in the United States ( https://theinvisibilityproject.org ), was born as an inevitable byproduct of Leigh Witherell's journey as an artist and a bereaved mother.

Her daughter Amanda Jane passed tragically in a car accident in 2021. It was grief that ripped Leigh's heart open to fully pursue her creative career as she relied on art as an outlet and friend. In the artist's words, "Art is a companion that silently encourages me to show my inner self on the canvas."

Beyond serving as a cathartic tool, creating has led Leigh back to her roots as an educator, one that empathizes deeply with her audience.

"When I show my work, I get a wonderful opportunity to share the depth of heartache with openness and extreme vulnerability."

In communicating her reality, she has met fellow bereaved parents who have expressed gratitude for a tangible expression of their pain.

"I learned that many parents feel the same feelings. It's comforting not to feel alone in this odd place- Where you can feel rage, fury, sadness, devastation, elation, joy, and happiness all before noon on any given day. From those conversations, I knew I needed to work to bring visibility to our grief. We need a community that truly understands us, and that is when the Invisibility Project was born as a nonprofit organization."

The first order of business was to call other grieving parents to share their stories bravely. During the months of March and April, volunteer recorded interviews were conducted to research and document the commonalities and differences in the wake of losing a child. Twenty interviews with parents from multiple countries around the world left no questions about the main need of this suffering group- they feel neglected. Nobody wants to talk about their children's death. They need to talk about it and their children's names to be spoken. The artist had promised the research participants that she would share their stories with the world. Thus, Leigh took the recordings to Portugal and created the piece "We Are the Story " during a month-long art residency.

"Portugal provided me with a way to focus on the painting and the emotions behind it fully. We had interviewed the parents, and I had done the sketches, so now it was time to paint. This part was, by far, the toughest element of this project."

Translating this massive amount of shared pain was not easy. The weight of her grief and the collective feeling of neglect at times crushed the artist. It was especially challenging for Leigh to create the figure of the screaming woman.

"She represents the fury we all feel and also the helplessness. We feel helpless because we couldn't protect our children against death and are furious that death robbed us of our children's future. This part took the longest to complete as it was a stop-and-go process due to the overwhelming force of the image."

In honor of Amanda, the participating parents, and their children, the completed piece and eighteen other artworks will begin their tour under the exhibition Grief Flows, opening in Espacio Cómplices in Madrid on September 23 of this year.

This exhibition holds no glamour but deep, inescapable pain that demands room to exist within the many other intrinsicalities and complexities that correspond to the human experience. The artist adds a warning- The raw subject matter of this show makes it difficult for people to view, and I understand that. However, for those of us who are living this nightmare and cannot wake up, it is something that we want the world to see. We don't want to be hidden by society; we don't want sympathy. We want acknowledgement that our children existed and were important and that our pain is valid and needs to be heard."

Sarmite Lasmane

Wed, 17 May 2023 11:52:27 GMT

Looking at the sky polluted by chemical trails and industrial emissions, I wondered what we, designers, can do to protect the sky from pollution? Is there anything we can do? My research went down to the molecular level and I was looking for a way to communicate this air pollution problem to the public. In the process of searching for a solution, through research and sketches of pollutant molecules, I came to conclusion to show air pollution issue through a small rug and made this rug from half-wool yarn in the punch needle technique, incorporating the wonderful colours of the sky into the pattern of the rug. The name of the rug, Amoeba Rain, came from my associations that the design of the rug reminds me of.

During my research process, pieces of paper scattered around like a sudden rain and fell together in a wonderful rug design. As if by accident, a wonderful design was born, which turned into a delicate and detailed punch needled small rug called Paper Drops. This is how the diptych rugs Amoeba Rain and Paper Drops were created.

The air pollution issue I concluded with a research that we, designers, can work with eco - friendly materials, such as wool, polylactic acid, steel, depending on what materials we designers use for our projects. Colour gradation on a tufted 5X7ft rug background represents pure sky, and the elements - steel, wool and polylactic acid are what I worked with during my project. Eco-friendly material formulas are tufted on triptych rugs called Purple Shade, Blue Shade and Indigo Shade.

5X7ft rug and triptych rugs were exhibited at the Wolverhampton Art Gallery, UK (2021)

More info:
https://sarmarugs.wixsite.com/sarmarugs

Sculplture as an element of Culture

Wed, 15 Mar 2023 17:26:11 GMT

Culture as a means to equate inequality.

A sculpture in the street, a step in culture

It is not new to say that, although the lower classes have raised their level a bit, the difference in classes has been increasing. Currently the rich are richer and the middle and lower classes are poorer. Access to culture, not referring to culture as a folkloric spirit with a unique identity, but as the cultivation of spirituality or free individuality, is becoming increasingly difficult, due to the limitations that the middle and lower classes have to manage to overcome what is called "its original barbarism" and reach a full expression of the unique and authentic being.

Education, which could be understood as an element of culture, does not turn out that way. It only distributes knowledge in a very unequal way, but it does not reach the levels of distributing culture, marking in turn more class differences. This process of facilitating the refinement of the individual's own abilities or capacities, through learning or the construction of knowledge on which education is based, has been diluted by the system. Currently the problems of education are inequality, school failure, lack of financing, school segregation, lack of individualized teaching, a marked politicization in each school reform, lack of promotion of creativity and curiosity; and a list that continues depending on the country to which one refers.

As a concept, culture is associated with freedom, as a vehicle between knowledge and new forms of consciousness that allow a destabilization in hegemony.

The Urban Sculpture Project aims to bring sculpture to the street, bring people closer to art, humanize cities a bit and open spaces for cultural discussion in broad circles and not in elitist circles.

In the urban sculpture project, the concept is to provide cities with elements that make them more personal, more human. It is the installation of sculptures that can serve as a reference to places and that also serve as company in very dehumanized cities. It is putting sculptures that are close to people, without spaces in between, without pedestals, without barriers. They are sculptures on the ground so that people feel close to them, so that they are like friends on the street, with feelings, expressing emotions, so as not to leave the viewer indifferent. Human figures to accompany people in the day to day of the city; palpable sculptures and with feelings.

The modern city has become impersonal and everything ends up appearing the same when compared to another. There are more and more common places, starting with clothing brands that are everywhere, inside shopping centers that end up being the same in every city, as well as department stores or supermarkets. Life is increasingly focused on large surfaces, causing the streets to lose interest.

At the same time, there is currently the intention to pacify cities by removing cars and public transport from old areas, from the center or even from new commercial areas, but they usually lack personality because the actions are generalized and there is nothing that gives them a special character or even a human touch.

It is necessary to be realistic and realize that the exercises carried out in the improvement of cities are not giving the minimally necessary results, so reconsider the situation and look for a different bias in the approach to cities and their users.

In turn, it is necessary to reconsider the channels through which culture moves, break the closed circle and end up outsourcing art. Currently art as a monopoly moves in Gallerists, Fairs, Biennials, Auctions and Collectors. Either it exists in that circle or it doesn't. It is necessary to put it on the street directly without ceremony. But, even so, an artist who works in this sense, Banksy, when he makes a work on a wall, they quickly take it upon themselves to withdraw it and lock it inside the circle, to later seek to make it profitable. The circle controls, has a lot of power and does not get carried away.

The Urban Sculpture Project's approach is not to enter the circle or be influenced by it, because the project has to be transgressive and break the existing rules. You do not have to stay locked up, tied to the current channels without, on the contrary, freeing yourself from this manipulative tutelage in order to open up to the community. The urban sculpture project aims to extend the sculpture in all directions so that it can reach corners where live art has never been seen. The main approach is not to settle in the big cities, although it is necessary to work in the belts of them, but rather to move away from the circles where culture moves and reach the points abandoned by the domain circles. It's a way to free

Watches of the Night

Mon, 06 Mar 2023 20:09:31 GMT

As Shakyamuni Buddha sat under the bodhi tree on the night of his enlightenment, the demon Mara and his hordes attacked him with scores and scores of arrows. Gently touching the ground, the Buddha called upon the power of the earth and quietly transformed the arrows to flowers. An assault became a delicate shower of soft petals, glistening in the moonlight.

A core tenant of Buddhist thought is the power of transformation. Harm becomes healing, pain becomes joy. Among the volleys of Mara's arrows hurtling towards us constantly are images of aggressive masculinity—athletes, soldiers, superheroes. These chiseled rocks are to be admired or emulated. These paragons of rugged individuality express a need, a propulsion to dominate. They embody this dominance in their physiques. (Just think about how right-wing the pursuit of physique is these days.) These physiques are now deeply connected in the popular culture with a toxicity that is slowly killing us all, even the right-wing, iron-pumping meatheads who think they're invincible due to the size of their biceps (and egos). In the way the Buddha teaches us to transform Mara's arrows into flowers, we can remake these physiques, these emblems of toxic masculinity, into dreaming, dancing, and true pleasure.

These small paintings combine abstract floral elements with male figures--active, passive, sensual, erotic, pornographic. Occasional hints of surrealism decorate a few of them. They aim to re-contextualize. Transformation becomes possible because nothing is absolute or inherent. It's all relative. The same thing (bulging bicep, erect penis) harms in one setting, heals in another. Are the bicep and the penis inherently one thing or another? I want this series to invite you to look beyond a singular object or person and instead zoom out and take in the surroundings as well. Expand your consciousness to appreciate as much of the whole as you can.

These little gems set out to sparkle--not broadcast. They're diminutive of size but their vivid colors and evocative imagery attract attention. Like a walk in a garden, you catch a glimpse of a delicate creature coyly flirting with visibility among the flowers. You feel a brief spark that invites a longer look and maybe leaves a gently joyous, lingering sensation. They lighten the mood. They add a spring to your step as you catch a glimpse on your way out the door or settle in for a night bingeing the latest MCE (Marvel Cinematic Extravaganza).

See the whole series: https://edwardficklin.com/watches-o f-the-night/

Chaos in the Deep

Fri, 17 Feb 2023 02:23:02 GMT

I am profoundly inspired by the sea where I live in Cornwall. I spend the majority of my days creating depictions of the ocean through a variety of different mediums including oil paint, ink, watercolour, chalk, charcoal, earth, sand and found materials. When it comes to my paintings, I often work onto large wooden board which I find in the waste pile at my university as I find working on a larger surface allows the freedom of expressing my performative, gestural and abstract process. My work expresses the chaotic and energetic atmosphere in which it was created and involves a brilliantly messy process. I would say my paintings are about creating a sense of place and connecting to movements and formations from within the Cornish sea. I tend to manufacture a varied palette which reflects carefully selected colours derived from within the ocean and often incorporate sand and earth from the places of which my work is inspired in order to respond to the landscape on more personal level. I find working en plein air allows the natural elements to influence and impact my work which often results in dramatic mark-makings, increased textures and helps to further establish a relationship with my work and the surroundings of which it was produced. Above is ‘Chaos in the Deep’ which is a mixed media painting on wooden board. It represents an array of erratic movements found within the deepest depths of the ocean communicated through the use of vigorous brush strokes and paint thrown aggressively at the board. The body content of your post goes here. To edit this text, click on it and delete this default text and start typing your own or paste your own from a different source.

‘Chaos in the Deep’
Mixed media on wooden board
85cm x 186cm
Amelia Kerr

Instagram: @_amelia.s_archives_

Olga Goldina Hirsch

Thu, 16 Feb 2023 04:43:30 GMT

CHILD AGAIN

Looking at the world with the honesty of a child is one of the prerogatives of the artist. Children do not always understand what is happening in the adult world, but they feel things subtly and experience the upset and happiness of adults. It is terrible to wake up every morning, read about bombings and death, realizing you are part of it even if you were just born and raised there, and that your past is crossed out. There is a protective childish reaction emerging on your canvas, strange images, an attempt to say something important for yourself.

Can I Look At The World Trough The Eyes Of Joy? 2022

Mixed media on canvas 160x190x3,5 cm

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I Want Your a Polka Dots Dress! 2022

Mixed media on canvas 160x180x3,5 cm

Their Games, 2022

Mixed media on canvas 150x190x3,5 cm

The Red Ball, 2022

Mixed media on canvas 170x190x3,5 cm

Evening on a farm near Dikanka, 2022

Mixed media on canvas 160x190x3,5 cm

This work is for me a paradoxical metaphor, originally a collection of short stories by the Ukraine writer Nikolai Gogol, written 1829–32, stories we all knew and loved in our childhood, heavily laced with Ukrainian folklore and cultural references, offering a unique perspective into life in the country in Gogol's time. The dark allegory came to me in March this year when I learned of the excesses of the Russian army in Bucha Ukraine, meaningful for me because of close friends and early years there.

http://www.olgahirschart.com

https://www.instagram.com/olgahirschart/

Landscape magic tucked away in daydreams - Monika Zimová´s artwork

Sun, 12 Feb 2023 05:30:30 GMT

Some things cannot be replaced by anything else. Some things have to stay intact, as they are, and as they have always been.

My painting started when I was a young teenager, being captivated by the beauty of nature in the Norwegian mountains. I fell in love with landscapes right away. Through them I now seek to experience the pleasure of seeing a bit more like a child again. Some people think that children are less wise than adults. It is in some ways true, but in other ways it is very untrue. What children can do is to get completely immersed in the beauty of the moment and not rationalize it. As children we are sailors of the skies, we are completely immersed in the world of the mysterious. And I can not help but still remain captivated by that world that is somewhere just one step behind our ordinary life. As children we let our bodies melt into the glacier, we let ourselves slide from the mountain, we become one with them, almost as though we were merging with them. I have an intense love for nature, and that is why I a lot of times feel that I want to become it for a moment as well. It feels like a spiritual experience that reminds me of a knowing of what this world really is. Oftentimes my work provides me a relief from a sense of loneliness when I feel like the landscape greets me and reflects my feelings, but contains a sense of hope at the same time.

My work comes from a place of imagination or memory that is affected by imagination which I engage in in my free time. It comes from daydreaming, a desire to touch beauty and to get closer to the mysterious or unexplainable. I am drawn to anything I feel is intensely beautiful and I like to turn it into a place which can surround me, in which I can dwell.

I want others to see and feel the magic behind ordinary life again when they look at my work. I want them to feel connected to something higher. I want them to discover a sense of wonder for themselves, perhaps a quiet and peaceful hideaway, a solace.

Mom Polar Bear's Time Leap Travel to Save the Arctic's Future Where Her Beloved Children Will Live!

Sun, 12 Feb 2023 05:06:14 GMT

Hello, I'm LinaLee, a colorist and Digital artist who is currently drawing "Master Polar Bear," a story and art project.

Master Polar Bear is a project that shows the Time Leap story of a mother polar bear that goes into various dimensions to save the environment and protects the time zone with the help of companions to save the future of the Arctic from the upcoming crisis of climate change and environmental pollution.

Master Polar Bear has a road-map with a total of 5 themes. In the case of Theme 1 currently in progress, it consists of the main story and the supplementary story. Theme 1 focuses on the various stories, characters, and thoughts that Master Polar Bear experiences while going on a time leap trip alone. In addition, Paula Bear, who has gained experience little by little while crossing various worlds, realize a special ability. a total of three times during the story of Theme 1.

She wake up to new abilities, get special items, and meet companions to help dimensions. In the meantime, unlike the first time, the degree of freedom of the character increases, and the number of things that can be actively done in other world increases. In addition, Theme 1 will tell 100 stories in different dimensions with a total of 100 paintings.

These stories, which later lead to Theme 2, will be a bigger travelogue with other Arctic colleagues joining them.

In the case of Theme 1, each painting has a single little story and a world, and these little stories come together to form a big book called Master Polar Bear. It is being conducted in an omnibus format, and the work is being carried out through collaboration between painting and music.It contains a healing message with heavy metal bands and post-rock bands that are well-known in Korea, Japan, and Europe.

In the case of the supplementary stories, the main part deals with stories that I couldn't deal with due to time issues at original story of theme1. (For example, story of Dokkaebi mask - in the main episode, I'm unraveling how Master Polar Bear was able to get new skills from the outside world.) Also, in the case of Nature series paintings, these are being made to donate all of money to environmental protection organizations.

I can't upload all the artworks, so I'm going to upload paintings of the main episode, the story of the supplementary stories, and the Nature series a little bit. Through various offline exhibitions at home and abroad and participation in large global projects, I'm presenting Master Polar Bears in various places! (America, France, UK, Japan and in Korea etc. many places)

Homepage: https://linalee.wzd.kr

Twitter: https://twitter.com/linalee34

Instagram: https://instagram.com/master.polarbear

Link Tree: https://linktr.ee/linalee34

Inbal Kristin

Sat, 11 Feb 2023 22:36:01 GMT

Inbal is a multidisciplinary artist , based in Ashkelon, Israel. She got a Bachelor’s degree in Social Sciences and Humanities at the Open university at Ra’anana and a diploma in Media design at the Ashkelon academy.

She likes to incorporate different mediums: Photography, Painting and digital editing. The uniqueness of her works is the special combination between photography, painting and graphic editing. The boundaries between mediums disappear. In her works the emphasis is on colors and textures. The stages of the work include the use of the various mediums when the final result is digital.

Inbal participated in several exhibitions, biennials and international festivals around the world and her works have been published in several international magazines and books. She has won several competitions and awards: Caravaggio Prize Milan 2022, The Best Modern and Contemporary Artists London Prize 2022, Prague City Award 2022, International Prize Barcelona 2022, International Prize Paris 2022, International Prize Leonardo Da Vinci Florence 2022, YICCA Milan 2021, Arte divina prize Turin 2022, International Prize David Michelangelo Florence 2022, Premio Internazionale Catalani Messina 2023.

Five: Wuxing Elements in Art and Words

Thu, 19 Jan 2023 00:05:09 GMT

OUT NOW! Five: Wuxing Elements in Art and Words

Alice Gur-Arie’s companion books Five and Twelve, present an inspired interpretation of the ancient Chinese world view as a framework for creative expression.

Five features 81 landscapes, seascapes, cityscapes and abstracts aligned with the five wuxing themes: wood, fire, earth, metal and water. The images are hand painted (digitally) photographs taken in Belgium, France, Germany, Iceland, India, Israel, Jordan, the USA, and the UK. Foreward by Asian art scholar John E Vollmer.

Five is only digital, and is free to browse; images are available as one-of-a-kind giclee prints. For size and price details email alice@alicegur-arie.com

Five is here: https://issuu.com/agurarie/docs/five

Discover More
Website: www.alicegur-arie.com
Instagram: @alicegur_arie
Licensing: artists@bridgemanimages.com
Commission: alice@alicegur-arie.com
Singulart Portfolio Gallery/Sales: https://www.singulart.com/en/artist/alice-gur-arie-24559

Every piece of me is a piece from you

Thu, 22 Dec 2022 20:21:40 GMT

Every piece of me is a piece from me.

When I was a teenager, like most of teenagers, I was looking for my identity. My thoughts were often all over the place in my inner world of chaos. I learned structure, order, and systematization to tame my reckless mind. It took me years to create some kind of logic and harmony. Until it broke again. And again. And again. I didn’t know that " In all chaos there is a cosmos, in all disorder a secret order " [Carl G Jung]

Then I read The Steppenwolf [Herman Hesse, 1927]. Again, and again.

More years passed before I understood that " I am not what happened to me, I am what I chose to become " [Carl G Jung]. Chaos sometimes and Harmony other times.

Every piece of me is a piece from me.

We are all made of pieces. Pieces of nature. Pieces of emotions. Pieces of functionality. Pieces of capacity. Pieces of preferences. Pieces of temper.

We get some pieces for free when we come to life, and we create others along our way. Our entire life we combine them and adapt them to the situations we encounter. Our self is the summary of those pieces, but it is also the combinations of them. Like a round of chess. We always have the same pieces to start with, but each step is a different combination of them, always new steps until the game is over. Sometimes we win, sometimes we lose. Some pieces are our beloved ones, but we also hate many of those pieces. Looking at others will make you aware of your own pieces. "If you hate a person, you hate something in him that is part of yourself. What isn't part of ourselves doesn't disturb us" [Herman Hesse (1877-1962)].

We might not choose all our pieces, but we often chose how to combine them. The more we know them the more we can change how we combine them and influence who we truly are. Being aware of all our pieces is being awake. Even though we might have the same pieces as others, good ones, and bad ones, combining them is our own choice. We are all similar as we are made of the same material but what makes us rich is that we are all different as we chose how to use that material.

Every piece of me is a piece from me.

Combining my human pieces is the secret order of my life.

In my painting collection “pieces” I am reflecting on what I am made of, playing with complementary colors, geometries, and rules of composition. I am throwing my mind at the canvas in my secret order. I am mixing techniques along the way and searching for textures and patterns, to emphasis both similarities and differences in the same go. Each canvas is a new journey combining my inner world to what is surrounding me at this very moment and resulting in a new combination of my inner pieces. Layer after layer, I pick up new thoughts from the outside and challenge myself to discover new pieces of technique, color, structure, or composition until I see a piece of cosmos appearing on the canvas. A piece of my cosmos. A piece of yours.

Every piece of me might be a piece from you.

For more information

Web: www.Artbynial.com

Instagram: art.by.nial

Email: artbynial@gmail.com

Paintings for Music

Thu, 22 Dec 2022 18:58:53 GMT

Creative collaborations in oil paint and jazz. The relationship between abstract painting and instrumental music. Colliding these worlds in a record label.

Artist painter Lorna Robertson and jazz trumpeter and composer Nick Walters, have been collaborating since 2018, bonded by a shared passion for music, art and design. The duo have worked on several sold out vinyl records and limited edition art prints over the past four years. Collaborating first through the London jazz label 22a, they went on to form their own imprint D.O.T. Records in 2020 - where the relationship between music and art are an integral part of the label identity.

Through D.O.T. Records, they bring their worlds together. Nick creates jazz and electronic albums, and Lorna leads on the artwork. Inspired by their love and respect for great UK labels of the past such as Manchester’s Factory Records and regional independent record shops, D.O.T. Records is a D.I.Y. ethos. Founded during lockdown, the pair brought the vinyl production in house, adding their touch to everything. Lorna creates an original painting or drawing for each album, used to design the vinyl record covers and limited edition art prints.

The duo originally met in a live / work warehouse set up in East London, where Lorna was developing an abstract portrait series and Nick on his album ‘Active Imagination’. Their first crossover occurred when Lorna painted a double portrait of Nick, of the front and back of his head - which went onto become the front and back cover of ‘Active Imagination’ released on 22a Records. Lorna followed up with a group portrait of the band Ruby Rushton, which became the cover for ‘Overture 1’ also released on 22a. From this, the couple continued to collaborate on other projects - fast forward to 2020 and D.O.T. Records was formed.

The Inaugural release on the new label was ‘Implicate Order’ 2020, where Lorna began to more fully explore the ideas on the relationship between abstract painting and instrumental music. Drawing on the theories of Wassily Kandinsky, she created a large abstract oil painting that represented the 11 musicians involved. Responding to the sounds of the album, Lorna applied Kandinsky’s theories of specific instruments having certain colours associated with them - the trumpet red, flute light blue, double base dark blue. The results are a composition that is both structured with a sense of internal movement, that responds to the composed and improvisational nature of jazz. There is a sense of movement and interplay between the shapes and colours as they guide our eye around the canvas.

Conceptually the same, but different in form, Lorna became fascinated by how abstract painting and instrumental music are both non-verbal modes of expression that create a space for abstract, even spiritual thought. This was explored in depth in the work ‘Painting for 18 Musicians’, 2022. A painting about using colour to express sound - visualising musical time, movement and rhythm as the subject. The painting took shape while she was thinking about the continuous curves of sound waves, and how a digital sound recording is split into tiny discrete chunks (many thousands per second).

The title was inspired by a live performance of Steve Reich's 'Music for 18 Musicians', a minimalist composition written between 1974–1976. On hearing the piece for the first time, the visualisations that occurred during the performance influenced the development of the painting, and encapsulated the ideas around the structure and behavior of music and abstraction. The final artwork is about the complementary characteristics of instrumental music and abstract painting. The conceptual similarities between the gradual shifting musical textures, and the colour palette of music, took shape within the composition of the painting.

In 2022, Lorna continued to examine the relationship of abstract painting and instrumental music more closely, developing the series ‘No Words, Only Feelings’ about how sound and rhythm can be visualized using shape and colour. Juxtaposing deep yellow, red and blue, humming alongside their cooler toned counterparts to create their own kind of harmony – the colours and shapes are a nod to the aesthetics and ideas of the women of the Bauhaus movement. The musical touchstones drawn on to inspire the paintings, range from the compositions of Philip Glass to the spiritual jazz of John and Alice Coltrane. The shapes and colours interact visually to stimulate and excite the eyes, as we follow them around the composition they push forward and retreat - creating a visual movement.

Looking ahead to 2023, the Lorna and Nick have plans for new bodies of work and the third release on D.O.T. Records that continue to explore the theme. Their latest work is inspired by the sights, sounds and smells of a trip travelling around the Indian subcontinent, with the music and art built around samples recorded on the streets of India.

Instagram @lorna.robertson.art

Website www.lornarobertson.co.uk

Instagram @nick.walters.music

Website www.nick-walters.co.uk

D.O.T. Records

https://nick-walters.bandcamp.com/

Harmony and Colour

Sun, 11 Dec 2022 16:23:15 GMT

I work with traditional oil painting, drawing upon the history of figurative art and portraying subjects from everyday contemporary life. My compositions do not reference specific geographic locations. However, I tend to refer to some places through the symbolism of colours and the character of light. What fascinates me in paintings is the interplay of different elements and unconventional ways in which they affect one another, as well as colour combinations which we would never think of when it comes to clothes or interiors. When put together in the right way within a painting, they evoke powerful and distinct emotions that are rather impossible to express when using other means.

Colour is a vital element of my artworks. Although the juxtaposition of shades and hues I use is often contrasting, their convergence is simultaneously soft, gentle, and devoid of deliberately provoked dissonance. I reach for expressive (but not entirely abstract) forms because they add dynamics and more intensively absorb the eye of the viewer on an aesthetical level. What you initially see in my new paintings is often a polychromatic blur, but with time you start to notice tangible, familiar shapes. This dance of forms, as I like to call it, is a maze of colour and structures that gradually reveal concealed reality. The visual dialogues between forms, light, and layers of colour ultimately highlight the mood rather than the action of events I portray.

The subject of visual harmony is something I’ve been studying all my life. In 2018, I joined a team of aesthetics scholars, visual psychologists, and neurology researchers who conducted extensive theoretical and practical research into the mechanism governing this phenomenon. The outcome – Algorithm of Harmony – is a concept illustrated by a mathematical formula. My ultimate goal as a painter is to reach a state of perfect visual harmony. To achieve it, I’ve been following compositional principles and constructing paintings in a way that each element of the composition becomes irreplaceable support for the arrangement of the others.

IS SUFFERING THE INSPIRATION OF YOUR ART?

Thu, 10 Nov 2022 18:44:37 GMT

IS SUFFERING THE INSPIRATION OF YOUR ART?

Jean-Paul Sartre remarked that “suffering is justified when it becomes the raw material of beauty.” The idea that art depends on suffering is rooted within commonly accepted myths. This idea suggests that talented artists are likely to be full of suffering and dark emotions, and even need to dwell on pain in order to create something interesting. In the East, it is more believed that great works of art come from inner balance and fulfillment.

It is indeed true that many great artists, writers, and thinkers in the world have been tortured souls. A new study, conducted by researchers at the Karolinska Institute in Sweden, found that people who are more creative than average are also more likely than the rest of the population to be treated for mental illness. Over one million patients and family members of patients with a variety of psychiatric conditions, such as depression, bipolar disorder, anxiety, and substance abuse and drug use, were studied.

For many years and in different places, I have seen painters who are in intensive meditation retreats and are afraid that the peace they have acquired will rob them of the basis of creativity. I have seen writers who equate balance with incompetence, and serenity with lethargy. Furthermore, actors and musicians were afraid of fullness because they felt it was the last step before sleepwalking or falling asleep in life.

It is clear that sometimes the obstacles we face, the pain we experience at the setbacks that arise, and the risks we take to overcome them can be keys to unlocking our hidden abilities and creativity.

But I genuinely believe that what we really want to achieve through creativity and innovation is courage, not misery. The courage to go beyond limitations, to see things in a different light, and to not settle for the beaten path. We should reinvent ourselves and build new visions.

In one of his teachings in Dharamsala, the Dalai Lama told us that art is beautiful because the artist changed while creating it. “What truly contributes to the value of a poem, sculpture, or painting is when through the work, people who enjoy it become more enlightened, more kind, and more deeply aware.” This, of course, is an entirely unique vision of creativity than the one we are used to.

Of course, suffering can lead us to find creativity in the ashes, but we can also achieve it through internal satisfaction, joy, and inner abundance. If we were not feeling such a lack within us, we would not be so lost in the insatiable desires, mindless consumerism, and fierce competition that society encourages. We can approach reality with fresh eyes and walk away from conventional expectations and the expectations of others. And we can do it from the source that springs from within the joy and abundance. Only then will we be able to share the true inspiration.

You can find more about Mónica Esgueva on her website https://monicaesguevaart.com And on Instagram: @monicaesguevaart

Artist in Social Justice

Thu, 27 Oct 2022 21:54:20 GMT

Artist in Social Justice

“As You Wish” is a display of one’s devotion to their higher self, heeding the call of a higher force. Although there is a mischievous smirk, it is not inherently bad. The late congressman John Lewis used the phrase “good trouble”, that is the mission this individual is on. To the right of their eye is a galaxy outline that resembles a feature on the eye of Horus, the mythological Egyptian symbol of protection from malevolent forces. The pink skin, and glowing tribal scarring shows this individual, although with human features it is not just human. My work is to expose others to a world unseen through a modern lense.

This piece “As You Wish” addresses social justice and the pursuit of it. Social justice includes each person within all societies. Each of us has a role to play, no role is too big or too small. Whether this is intrinsically known or come into, sort of speak. Pursuing social justice is not bound to a role, title, or position. In every revolution, every citizen adds their expertise and innate ability to aid in reaching a common goal. Our power as individuals amounts to much more, together. In the book The Aquarian Conspiracy: Personal and Social Transformation (in the 1980’s) in Our Time by Marilyn Ferguson it is said that “A revolution, as we shall see, is first visible in tendencies, altered behavior and trends that are easily misunderstood, explained within the context of the old paradigm as something they are not. And to confuse matters further, those who do not understand their basis in an inner turnabout. All revolutions attract mercenaries, thrillseekers, and the unstable as well as truly committed.” In today’s time we are pushing forth a collective revolution of human society that began in the late 60’s, arguably decades prior to and the human spirit is the driver. America is a fairly new society in comparison to the spiritual development of other regions. And we are like none other despite the trauma. The “hippies'' and psychedelic experiments in the modern west, the Black Panthers and their breakfast programs, the rock bands and artists making it possible to create a space where one could be free in their expression, and the student councils organizing protests; what growth we have today took a collective of all kinds of people for us to exist as we do. In a world where division is created for bigotry and greed, we must realize a change that will be everything for the generations to come and will be brought to fruition with every individual, in every community playing their part. Artists may find little difficulty with such change because it is innately what we endure when beginning a new piece of work. Throughout the process ideas evolve, the vision is constantly altered. The perspective once finished expands beyond our initial understanding. Fantasy leads to reality, we see it then bring it to life. The more we speak with others about our work the more we transform, the same goes for leaders in any field, in any position. Therefore, artists of all mediums have a responsibility to reflect the times as the late Nina Simone once said, “it is an artist’s duty”. In every era, in every time period art helped to push society along through challenging times. Even if you choose not to speak, your art is a reflection of what you see in the world. It is a powerful mirror, it is a powerful tool and we possess it.

To quote Marilyn Ferguson,

“The power of flexibility allows the potential opponent to become part of the solution to the problem, much as the practitioner of aikido flows with the energy of an opponent. This political aikido channels energy into an intended direction, in part by identifying the needs of the potential adversaries. It helps these adversaries transition, whereas frontal attack hardens their position.” Aikido is the practice of mastering oneself instead of cultivating violence. The artist's mind is a middle ground, an inbetween, a contradiction, an agitator and a dreamer. What is reality without a dream?

Pas de deux Nº10

Wed, 19 Oct 2022 20:23:15 GMT

Pas de deux Nº10

To write in a blog I've always found it difficult. Maybe too many things to say as life interferes with work and also work interferes with life.

Complicated to talk about the Series "Les Danseurs", and the need to explain that work comes in Series that can be closed at a time or just keep appearing every now and done through the years.

This series "Les Danseurs" was started after the long Covid confinement was ending and people began leaving their homes, two years ago. It felt important to live the moment intensely, to appreciate the moment and to enjoy the moment. And dancing looked like a way of living the moment.

Life had changed so much that it became more clear that nothing would last, and that at any moment what was normal could just disappear in front of the eyes.

Dancing and sharing the moment with others looked like a way of enjoying life and relaxing minds. Knowing that the moment needed to be lived as tomorrow could be so different.

So here started coming different "Pas de deux", "Pas de trois" and "Pas de quatre", every one with a different experience on dancing, a different way of enjoying life. Looking at them gives a feeling of how engaged they are with living the moment, nearly floating in the air, or compressed in a precise gesture, giving the best with every movement embedded by the music that makes it all. The beauty of the moment, giving all, expressing emotions, knowing the need to be there at the moment.

Reflecting life is what has been happening with doctors and nurses, dancing around the patiences with the illusion in their minds of the work to be done. It is also what has been happening with firemen around the world trying to save as much as possible and dancing with the fire, a completely different partenair. It is also what is happening with cooperators of non-profit associations that try to help all those displaced by famine in Somalia. And with the lifeboats that dance in the sea to rescue the hundreds who shipwreck in small boats and are lucky enough to be picked up. And with everyone that is engaged with life.

It's the beauty of giving everything in a moment. To be there completely engaged with life and living, enjoying being there, giving the best.

Life has to be lived to the full extent, taking advantage of every minute, every hour, every day. And you may find yourself stretched out to the maximum, giving it your all to be with your partner following a rhythm that is present and that will continue even after the music has finished but you keep engaged in life and to live intensely every moment.

Elena Gusareva

Sat, 15 Oct 2022 10:27:20 GMT

My paintings are multilayer patterns that create tactile and gentle fine structures reminiscent of broken paper sheets. I often use pieces of fabric or cords to increase the plasticity of my paintings. The whole idea is to make my artworks “visible” for blind people as well. I love to use clear acrylic colors and abstract calligraphy writing that is created by original scratching technique. My artistic style was influenced by famous contemporary artists such as Cy Twombly and Yayoi Kusama

My motives are either fully abstract or partially figurative. Here, I would like to present a few artworks inspired by my favorite literature.

This artwork was inspired by the novel House of Leaves of Mark Z. Danielewski. The plot of the book is centered on a fictional documentary about a family whose house contains a seemingly endless labyrinth. This labyrinth, a dark scary place, represents a subconscious of the house inhabitances. My labyrinth is not too dark, but rather mystical dreamy environment.

This artwork, inspired by the grate novel War and Peace by of Lev Tolstoy, is quite straightforward. I used a disturbing color combination of red and black to show an anxiety and confusion of a woman in love just before she loses everything including her live.

The third artwork is also about forbidden passion, described in such detail in Vladimir Nabokov’s novel Lolita. You may recognize these words of love scratched on the canvas and in my memory forever.

Having an Eye on Diversity

Fri, 14 Oct 2022 15:32:54 GMT

Brown, green, blue and a mixture of many more tints are visible in our eyes. How about presenting them as a piece of abstraction?

Curiosity, empathy and imagination started the cycle The Eye. I wanted to stay conscious about diversity and inclusion, to present many different eyes symbolising our diversity.

The Eye - Black | Blue | Turquoise with golden sparks is one of them. It is an acrylic painting on a cotton canvas, 70x100x3.5 cm.

My first memory of painting comes from the time when I was 2 or 3 years old. I mostly use acrylic paints. My first painting guru was Vincent van Gogh. I still like to use his colour pallet and share his passion for Japanese art. I went through the path from trying to follow painting masters to starting to believe in the power of my own imagination. In my early years I was painting animals and landscapes from my photographs. These days I focus on abstract painting, following Van Gogh's question “How difficult is it to be simple”, in my artworks I aim for minimalism.

I am a self-taught artist. I have finished art related school and received my Master Degree in Social Psychology. It is probably the reason why social and science related subjects stay close to my interests.

Due to implicit cognitive biases, people may often attribute certain qualities or characteristics to other people, a phenomenon known as stereotyping. Stigma-induced discrimination is associated with different negative outcomes, such as: more psychological distress, more depressive symptoms, lower self-esteem and the reduction of perceived quality of life.

Implicit biases include attitudes that form through experiences and operate outside an individual’s awareness. I believe that this is the reason why it is worth talking about the issue also through art.

The Shield, Acrylic painting on canvas-textured paper, 16inx20in (40.6x50.8 cm). This one reminds me of the Roman shield and it is a metaphor of energy and power inside each of us.

‘When the rain comes, my blue turns more gray…’ Acrylic paint on paper canvas, 16x20in (40.6x50.8 cm). This one is telling a lot not only about weather change and how the lack of sun changes tones but also about a person's mood.

In my art I am using a form of logic. I make references to nature (landscape cycle), science (study of emotion cycle), world social issues (D&I in cycle The Eye), leaving room for ambiguity. My art is a composition of my imagination, my soul, my experiences and passions.

‘Balance’ from the cycle ‘Study of Emotion’. Gold and Black, Acrylic paint on paper canvas, A3, 300g/m2

Marta Obojska

Marta Obojska (@chat_panthera)
CHAT PANTHERA – artist | painter

EMBARKING ON AN ARTISTIC JOURNEY

Thu, 13 Oct 2022 18:11:48 GMT

As an artist, I always thought of myself being a world citizen and realized my dreams through a vision that allowed me to be in international museums. Despite hailing from a controversial Palestinian background, I chose peace over turmoil and was determined to show the world, the heritage value of my nationality.

I use various methods to create textiles, using aesthetic, harmonious, and abstract shapes influenced by the Islamic cultures, both historical, and contemporary cultures. With my abstract work that expresses culture and religion as an inspiration for modern lifestyles, I aim to generate dialogue and a sense of real involvement with the audience. She uses her creativity, imagination, compassion, and curiosity to create narratives with intense value.

“As a designer/artist, my work engages with Islamic art as a living form of art that endlessly sculpts daily life. I aim to go beyond the visual perception of Islamic art to investigate an embodied participatory language through which I represent it. My work blurs the boundaries between humans and objects in a totality that brings forth the vibrancy and harmony of Islamic art. The meeting of materials, colors, shapes, orientation and patterns in composition enables the viewer to observe the work as an embodied universe of symbolic meaning, often showing concern with the path we take through life. Drawing on embroidery as a tradition from the Levant region, I constantly attempt to modernize and enhance the methods by playing with technologies and multimedia to experiment with the idea of transparency and reversing the function of a material.”

SOME ARTISTS ARE AHEAD OF THEIR TIME

Tue, 11 Oct 2022 12:33:39 GMT

SOME ARTISTS ARE AHEAD OF THEIR TIME

Why were some outstanding artists misunderstood at their time? Throughout human history - at least the one we know about - many artists seemed decades, if not centuries, ahead of their time.

We have glaring examples such as Van Gogh, who painted in a very different style than the mainstream of his time, and because of his uniqueness he died misunderstood and rejected. Yet, years later he is considered a genius, capable of painting emotions and turning his sorrows into beauty. He has influenced generations of artists around the world. He painted more than 2,000 artworks but only sold two when he was alive, and he died understandably depressed.

Another of my favorite painters, El Greco, was not really successful during his lifetime. While he was able to work as an artist, he was largely slammed by art critics. His work was often laughed at and shrugged off by the art community. Yet, in the 19th century, his work became an inspiration for Expressionist and Cubist alike, and now he is finally considered a true master and pioneer.

Even someone like Claude Monet, whose paintings are sold for anything between 10 and $80 Million Dollars, was repudiated by society and art exhibitions because he chose to go against the traditional style, breaking the mold of painting at the time.

Consider also Paul Gauguin’s case. After turning down an affluent life as a stockbroker to live his calling, his artwork was hardly appreciated, and bluntly ridiculed at a Post-impressionist show in London in 1910, seven years after his death. Nevertheless, he paved the way for the Symbolism movement and, oddly enough, his paintings are among the most expensive in modern art.

What can we draw from all these well-known examples?

Some artists are visionaries who do not follow the rules and dare to present ideas and perspectives that are not accepted or popular. Those who dare to go beyond the conventional are more often than not utterly despised and usually ignored or worse, rejected.

So if you are an artist in any field of creation who feels misunderstood or met with disdain by art dealers, literary agents and publishers, film or music producers or even the public, do not despair. You may well be just ahead of time and too advanced to be appreciated by the current society.

If that is the case, though, be aware that a new era is about to be born, and you may just be opening the way for what is about to come.

Mónica Esgueva

www.monicaesguevaart.com

IG: @monicaesguevaart

Changing Times

Mon, 10 Oct 2022 13:22:57 GMT

My work has always had a common theme of ‘Back to Nature’. Combining the figure with natural images is intended to challenge the viewer to consider the importance of the natural world in the face of climate change and human interaction.

My work is also about having an image with a narrative that takes one to a tranquil place of contemplation, away from the worries of the world. The figures in my paintings are there to encourage one to think deeper than the decorative. They are my signature to a gentle way of questioning the life we live in. Yet also a mindful place to take ourselves in times of stress.

My love of creating something magical on canvas started at a very early age. Since graduating in Fine Art, I haven’t stopped working and exhibiting, gathering inspiration from a plethora of experiences of living abroad - in Italy, France, Belgium, Germany, Hong Kong, Sydney and also from my many visits to Nepal, as well as India and Sri Lanka. My work during the years of Covid have included smaller en plein aire pieces alongside more studio-based larger pieces that I am most known for. The joy of nature and the bringing together of the life form and botanical images, create a magical place of contemplation and meditation., which I feel we all need in this time of uncertainty.

When creating a piece, mark making and depth of field are all-important, where the images grow, change and develop on the canvas. Exploring colour and form becomes an exciting new but sometimes exhausting and challenging experience! I find that quite often things from my subconscious reveal themselves in my paintings without me realizing. Worry’s I did not realize I had.

Typically I work by first sifting through images either sketched or photographed where I have captured a fleeting image that will inspire the start of a new painting. The next stage includes the life model, or figure. Once I have two if not three lightly sketched figures on the canvas my imagination gets working and typically I will use a loose acrylic paint to mark in an idea roughly, often taking time to get the right feel before I continue with oil paint, again loosely applied, working into it sometimes with charcoal, slowly but surely tightening up some areas and leaving other areas free and undefined. During the building up of layers an image starts to appear and takes on an existence and personality of its own. This is what I love to do and am passionate about.

I am showing in an International traveling show from the 10th November 2022 for one week at the Camden Image Gallery curated by Stefania Carrozzini.

I currently have work in Turner & Thom in Hampshire with a solo show starting in July 2023.

I als o have another Solo show commencing in their Upper Gallery at Lauderdale House, Highgate London from March 2023 for one month.

Two Paintings On Poverty

Tue, 04 Oct 2022 13:56:42 GMT

"Auction For A Society's Death" (Empty Eyes) 

Acrylic on cardboard, 50cm X 40cm (2021)

Poverty and disparity are the main enemies of every society. Our glorious and advanced civilization has reached to a point that cannot only eliminate massively populations but also their habitats, whether urban or rural, an annihilation of all natural resources. In my painting, 6 newborns are left to die on the desiccated soil. Their skin is cracked like the dried out earth. 

The boat called “Egestas” (Poverty in Latin) has been abandoned on the dry ground and isn’t going anywhere. One baby carries and shows us a sign that water is prohibited. The new generation has been condemned to fatal thirst and eventually to death. They are trying to catch a breath inside this furnace. Silently and without any objection they are obeying. Maybe they were born on this dryland or maybe they have migrated from their ruined homeland because of war or extreme hunger. There is always the irony that people that come from degraded land areas lose their life by crossing the sea while trying to find a better life. The gavel hammer represents justice but also is the symbol of auctions. So many lives sold for a low value bid; the more the cheaper. No future for the newborns that are dying on the parched, arid soil. Their eyes are blind, empty like their life which won’t wait for them anymore. The hourglass is full of their eyes instead of grains of sand to symbolize that time is running out and that the dark end is near. 

From the huge luxurious faucet a diamond appears, blue and precious like water. That won’t quench nobody’s vital desire for some clean water. It is the cost for all the lives that have been wasted and for those which will be lost, a price that somebody powerful will collect. There is always a cause, an opportunity and a profit behind every catastrophe that humans orchestrate. 

This apocalypse is hitting hardest the poor and densely populated countries; they pay the highest price: tortured by civil wars and paucity, starvation and horrible living conditions, robbed by big companies of their natural resources, sentenced in perpetual ignorance and fatalism because of their non-existent educational system and being governed by corrupted politicians, who are in fact employees of the same big corporations and their interests. However, nowadays it seems that things have gone out of hand completely. Everybody’s life is being threatened by all this destructive mess. Nobody is safe. Nature’s destabilization is moving rapidly. 

The next following years will be crucial as they will determine whether is going to be a future for us or not. Soon enough we will get our answers.

“A Tourist Attraction Of An Unoriginal Sin”
Acrylic on canvas, 40cm X 30cm, (2022)

And then, one morning, as I come out to go to work, I see a poor man sleeping on a pile of
garbage bags. He is using one of those as a pillow. He is sound asleep, surrounded by various unwanted things. I stand motionless for some seconds and then walk away. My guilt and my continuing education in hypocrisy, has made me numb and paralyzed to take any action.

That man was sleeping next to the waste containers just under my balcony. I have been living my entire life in a poor, working class neighbourhood but the crisis has made things really unbearable. Unemployment and tremendous inflation have taken away not only the food from the table but also people’s dignity.

There had been a Greek commercial advertising all the beautiful destinations here. Oh yes, the splendid islands, one might think. Travelling is fun! No one wants to see a country’s misery or famished citizens stumbling and begging.
And then I thought what if they start advertising poverty as a spectacle? As the financial gap between the rich and the poor grows bigger, this would make an interesting sight. Of course, this tourist suggestion can apply in every country; the only real frontier is money.

In my painting, two rich tourists are smiling in front of a homeless guy. Their exciting dog is photobombing for a lovely family picture. The lady has an aristocratic flair while her husband has a more vulgar style. The pacifier stands for his childish behavior. Both of them seem completely indifferent. They are the clean ones that keep their distance with playful vanity and thick-skinned apathy. Probably they count their blessings and thank their god for their fortune.

The street has a peculiar name; it is a phrase from the ancient Eleusinian mysteries that we still use it in our Modern Greek language as it is. It means “the Disrespectful ( also the Filthy) Ones Stay Away From Here”. It is a sacred place, where you don’t belong.

Two parallel worlds that are crossing time but never crossing themselves. The infected ones are exiled to live in deprivation. Devalued like garbage, tossed away along with other used up and broken goods. An empty detergent bottle gave a promise for a Clean World. A letter was sent out with the word Alas in Latin. Someone bit an apple and someone else threw away a plug. They look like the serpent and the forbidden fruit. Poverty is the (Un) Original (societal) Sin. No surprise in the rotation of a spinning top on the vagrant’s back like a predetermined destiny. And maybe a nemesis will explode just like an Orsini bomb sometime.

Walk with sculpture

Fri, 30 Sep 2022 16:46:16 GMT

Do you know these moments when all concentration is focused on one point where everything seems to unite, while at the same time the space opens up for you and invites you into its openness and infinity?

Since I am working with stone, my approach to the material changed a lot. One day I became aware of the stones’ histories of origin and the huge dimensions they are connected with. And I suddenly understood that the more I open myself for these dimensions and the inherent energy, the more it will be possible to connect with the origin, not only the stones’ origin but also my own.

In the working process it is necessary to be connected to the essence of the stone and at the same time to allow a shaping force to flow through me so that my hands can form the stone out of this flow.

I tell you this whole story to raise your awareness of the perception of the sculpture presented in the 21 issue of ARTISTTALKMAGAZINE. ‘Without further ado (moment)’ is a simple, minimal form and two words to describe it could be calm and flow. But as soon as you start turning the sculpture around and putting it in various positions, it unfolds more and more, depending on your perspective. Playing with it provokes what I was talking about at the beginning – focusing on one point and opening up to the space in a single moment.

To take the photograph I took the sculpture for a walk. The area where I live in Southern Germany is called Albtrauf , which means edge of the Swabian Alb. The Swabian Alb consists mainly of Jurassic limestone, which has its origins in the primordial sea. ‘Without further ado (moment)’ is also made from Jurassic limestone – not from this exact place but from a quarry in Bavaria in the area. You could say that the stones are closely related.

Near my studio you can start a walk that leads uphill through a gorge called Zipfelbachschlucht. Here the Zipfelbach flows down from the Randecker Maar plateau. The Zipfelbach has many origins. Its creek bed through the gorge leads through moss-covered rocks and is filled with mostly angular limestones. If you grab them intuitively and turn them over, you can not seldom be surprised with a fossil or petrification. On my walk with the sculpture along this path I placed her on different sites to simply see and feel how it effected me.

Back home, I put her back on a pedestal where the shadows of the trees leaves danced gently on her surface.

https://monikamajer.de
Instagram: @monikamajersculpture
E-Mail: post@monikamajer.de

https://monikamajer.de

Instagram @monikamajersculpture

Storehouse, my submission and an honest chat

Thu, 01 Sep 2022 06:59:12 GMT

As artists, we often find ourselves submerged in a creative whirlpool, swept away by our imagination and positively buried within spur of the moment ideas. As a result, we produce art; small pockets of excellence which may or may not correlate to one another.

Being a part of Storehouse, the largest student-led magazine in the UK, I now understand further that the things I make creatively do not have to fit together in unison. Speaking as one of the two Curation Heads for Issue 25, I encourage young people to engage in every opportunity thrown at them, strive to build yourself into a well-rounded individual and make yourself known.

My submission for this issue of Artist Talk was created during my first year of study at Norwich University of the Arts. Like many other students, my first-year experience was tricky and there were times where I found myself quite overwhelmed. Adjusting to living with new people, working alongside your studies and taking on extra opportunities as an art student, distorts every feeling of familiarity that you once had back home.

However, within this chaotic year of study, I have grown into an individual acknowledges the importance of being proud of themselves and their achievements. Storehouse, without a doubt, contributed to this self-growth and I am more than thankful for that. Devising a theme for each magazine, allows students to openly explore different ideas and perspectives. This has given me a sense of clarity that I struggled to find for a short period in my life.

In Artist Talk, I touch on my ideas behind the piece above ’Remnants of Society’. In short, I am interested in using print-making techniques to understand my surroundings. I turn to art when feeling like things are moving too fast in life. For me, it’s about the process of slowing down time and exploring an idea or thought further. Issue 25 of Storehouse; ‘Distortion and Lucidity’, resonates with my practise more than ever.

Launching in September, you can find more of my print work in our student magazine and see the talent of many other creatives at my university. Below are some of the featured submissions from Issue 24 ‘Play; A Method of Discovery’, including my own article ‘Work Hard but Play Harder’.

Check out Storehouse’s website below for online exclusives and keep your eyes peeled for Issue 25 ‘Distortion and Lucidity’.

http://storehouse.online/

Arani Halder

Wed, 10 Aug 2022 21:54:26 GMT

People, Period. is a book that is tailored to women of the Indian Peninsula and is aimed at addressing the stigma surrounding menstruation in South Asia, while also raising awareness on safe menstrual health. It contains anecdotes from the people of the peninsula, age-old remedies for menstrual health issues, suggested sustainable menstrual products, Hindu myths surrounding the process and the science behind menstruation.

The book is meant to aid conversation and allow people to be able to explain menstruation to their children and loved ones. In a time where bodily autonomy and agency are being limited and challenged for people who menstruate and can give birth, People, Period. aims to give back a small aspect of one’s right over their body.

Women, Art and Food

Tue, 02 Aug 2022 15:45:44 GMT

As a society, we tend to place women on the same platform as our food. Thus we make them seem equal in comparison to both inanimate and consumable objects. Both women and food are viewed in particular in visual advertising as easily obtainable to be enjoyed by our gaze and just as quickly wasted. There are many examples, such as commercials for burgers or beer in which a woman is overtly sexual even in the noises of pleasure while eating or drinking. These types of commercials suggest that the viewer should not only consume the product but the model.

Another example would be many women's magazines that directly compare different body shapes and sizes to fruit. As a woman, you may wonder if your pear-shaped or apple, unconsciously internalizing the comparison of oneself to a fruit. In this sense, art is not an exception. For hundreds of years, artists have been using the symbolism of fruits and flowers along with other inanimate objects for comparisons to the female form. Men, however, are defined more often by things they do, such as their accomplishments or their intelligence, rather than being diminished to an inanimate object. In particular, artists are likelier to compare men and strong animals, living creatures like horses and lions, to convey their power.

Another view of how women are compared to food or non-powerful animals can be found in The Sexual Politics of Meat; Carol J. Adams explains how the oppression of women and animals can be seen as co-implicated. Adams analyzes multiple representations, both visual and linguistic, in nature of women as meat(food) and of animals whom we eat as being feminized in our societal perceptions. This view makes it easier for some men and even women to treat both parties as consumable goods, along with the impression of subordination.

It is worth mentioning that there are parts of the female body which are edible and can be viewed as food. The edible products produced by most female bodies include breast milk and the placenta, often regarded as ‘gross’ food by anyone other than their infants who depend on this production. In 2006, performance artist Jess Dobkin’s “Lactation Station” pasteurized breast milk bar prompted Health Canada to warn about consuming breast milk. While drinking breast milk may not be the best option for adults, it is alarming the mixed information women receive through the media and social expectations. Women are often bombarded with the expectation to produce and provide natural milk to their children and are sometimes undermined for seeking alternatives.

Meanwhile, their milk can be perceived as disgusting, and breastfeeding in public is frowned upon in many societies. Despite its source of proteins, eating the placenta is still commonly regarded as disgusting in many ‘Western’ societies. There are exceptions, of course, in particular with the wealthy classes who can afford to transform these female made foods into a more ‘proper’ form of consumption, such as pill form. Presently, women are edible only as flesh and primarily as a metaphor for sexual consumption, which can be seen in our everyday lives, including hundreds of years of art creation. I am doubtful that this association of women with consumption and food is an inherent property but rather a social construction.

In my painting entitled Fruit For Thought, the fruit depicted needed to be about her blooming thoughts. It is meant to portray the feeling that life and ideas were being sprouted around her head. The bright fruit (a ripening lemon) signifies the ever-powerful life inside and behind her eyes rather than a comparison to her figure. This being said, I chose not to hide her figure as I think a woman can have both their natural-born figure to be proud of along with their blooming thoughts. One attribute does not discount another, and so I felt that showing more of her chest was not in a sexual sense, but instead, it can represent her actual body without a sense of shame. I sought to capture the innate essence that there is more happening inside her head than what we, the viewers, get to see and know. Just because part of her form, her chest, is exposed to the viewer does not mean she as a person is exposed to us. She can be seen as more than her figure and, in this sense, is a mystery to the viewer as we see only her exterior and must ponder on what the interior and inner self may be.

Women, Art and Food, have a historical and multifaceted relationship that, as an artist, I draw from a lot; I cannot help but feel a connection to these themes. When painting food, there is a long-standing connection with women. The trend for kitchen, market scenes, and still lives often shows the viewer an abundance of food and imagery of young women, originating with (male) Flemish and Dutch artists working in the early 16th century known as the Dutch Golden Age. These genres of painting were borne from the desire to move away from traditional religious imagery, due partly to the rise of Protestantism in the Dutch Republic during this period, which warned against the use of pictures in worship and spawned events like iconoclasm. These new, food and object-oriented categories attracted women artists because, unlike history and religious painting, they did not require access to live models, which in this period (until the late 1800s) was restricted to male artists. It was not seen as appropriate for women to be able to practice art in Western culture as professionals. When it was somewhat allowed, it was inappropriate for women to study the body or nude (of either women or men). The still-life paintings tended to be smaller and could easily be painted at home rather than in an artist's studio allowing access to the domestic women of the time. Such issues mattered at a time when, except for some aristocratic ladies and painters’ daughters, becoming a professional painter remained out of bounds for many women.

As a Canadian female artist, I like my work to have a dialogue with art history, including that of women and art in particular. While I enjoy the practice of still life and its connection to female painters, I enjoy expressing thoughts and themes through the figure. I tend to blend figure works with a still life to create an exciting composition. The blending of genres allows me to have my modern views and interpretations on how to express female figures and forms while exploring the tradition of still life and its direct link the everyday life.

Sources :

Croizat-Glazer, Yassana, A Women’s Thing, and Morgan Everhart. “Moving Feasts and Still Lifes: Food, Art, and Women in History.” A WOMEN'S THING, July 29, 2020. https:// awomensthing.org/blog/food-art-women-in-history/.vDouglas , Emily. “Eat or Be Eaten: A Feminist Phenomenology of Women as Food.” Accessed July 27, 2022. https://phaenex.uwindsor.ca/index.php/phaenex/article/download/ 4094/3171. Grieco, Allen J. Food, Social Politics and the Order of Nature in Renaissance Italy. Florence, Italy: Villa I Tatti - The Harvard University Center for Italian Renaissance Studies, 2019.

The Process

Thu, 21 Jul 2022 19:02:25 GMT

The Process

A tension exists in my art between the representational and the abstract. As a young artist, I spent hours trying to make my work look as life-like as possible. I loved how Michelangelo created powerful life-like forms, and I wanted to draw, paint and create art like his. But then there was also Dali, and I remember how it struck me that really you can do anything you want in a painting. Art doesn’t have to be realistic, and a melting clock can be just as interesting visually.
Historically, the purpose of painting was to capture reality, but the advent of photography gave painters a new freedom. As painters, we often blur the lines between the abstract and the representational, but working out how to do that - where to stop and start, and how they interact - is what’s interesting to me.

My art often emerges from my imagination and memories of events in my life, which are quite visually intensive. But art can be distilled into rudimentary elements such as lines, forms, and colors. Once, I was painting a landscape and I was essentially transferring images from my mind onto the canvas, but then I got stuck. I couldn't figure out what I was trying to convey. I worked on it and reworked it, and ended up painting over most of it with lines of color, one after another, after another, carefully laid down on the canvas. It was a very meditative process. I painted lines up to about midway where I had earlier painted a sky. Then as I stared at the blue sky, I notice something interesting. The lines were interacting with the landscape and in fact becoming a part of it. I started to understand these lines as representative of abstract ideas that we can't quite put our finger on – they are almost ineffable. This rudimentary element had become an essential part of my painting and has continued to evolve in my work.

Working through a painting can be a meditative process and breakthroughs will come, but you need to keep at it. Picasso once said, "Inspiration exists, but it has to find you working." So, I keep working. They don't always turn out well, and that's okay. Creating each painting is a learning experience and I enjoy the process. Eventually, a balance is achieved between the real and the abstract.

Discover more - www.joelkurtz.com

Fruits Quartz

Sun, 05 Jun 2022 14:07:00 GMT

EARTH MAP

I grew up in an environment with works by my grandfather who made a living from bonsai, my grandmother who was doing flower arrangements, my father who loves the natural environment, and my mother who went to art school and painted oil paintings.I often go to museums since I was little and have a lot of art books. I myself have had some peculiar experiences such as receiving awards for calligraphy and storing my paintings in school. The first contest that came out was the bonsai contest. I remember being told not to put out yellow flowers for some reason. However, I put out a bonsai of yellow flowers.

The characteristics of my art are photographs and colors that show special natural phenomena, techniques for drawing transparent colors, and techniques for emphasizing shaded colors.
And received with inspiration

Nihonga
Hanga
Ukiyo-e
It is a unique expression of.

I plan to express these in color.
This corrugated dragon featuring green, light and blue expresses the colors of yin and yang and pine trees peculiar to Japan.
Pine trees are the most noble and most diverse nuances of bonsai. The pine tree called Goyomatsu is a very noble pine tree. The pine tree looks like a dragon

Also, photographic art like a mandala as a geometric expression. This expresses what is the difference between the organic matter in space and the crystals and gemstones that form in the stratum, and what they are similar to. It also expresses that the color of gold comes from the plant. This photo Crystal Mandala represents gold, fire opal, labradorite, sapphire and emerald.

And it expresses that these spaces, strata, underwater, and seabed are all connected, that they are connected in transparent colors, and that they are very structural so that they can be very crystallized.The space is built with a house.
I think this is the earth's structure.

There are people in this space of the earth, and there are feelings of being colorful like this and having fun like this. There are also problems associated with them. I think that the only way to heal the earth is to live a life that always solves problems and always solves them.

Also, how to be free is very structural, and it is necessary to express in art how to interpret the formed form as freedom.

I think it would be great if we could advocate this kind of way of thinking about art and how to see it, and meet people who have some sympathy for it.

What kind of structure is a free structure?

History
2021.LICC 4shortlist and 5 official select
2021.FAPA Open theme white
2022.Artist talk magazine issue19
2022.MADS art gallery Liquid Arsenal
2022.Artist talk Digital exhibition NY

For art, please visit the website or Instagram info or email！

https://www.instagram.com/aqualightquartz8/

https://crystalbook360.jimdofree.com /

Art Blocks: How to feel unstuck and find yourself again

Tue, 03 May 2022 15:36:16 GMT

Have you ever felt like giving up? Or felt like you wouldn’t be able to create like you used to? Have you ever felt so stuck, so lost with that huge block? Have you ever stopped feeling proud of your work and instead felt disappointed? No matter what you try, you are unable to get that happy I enjoy creating feeling back. Am pretty sure you have gone through it because every creator does at some point. I have.

But, in the end, you have this urge to get back to it. You NEED art. You NEED to be creative. You NEED that paintbrush/ pen in your hand to end the restlessness. You NEED to fall in love with that feeling again.

Here are some tips to get that feeling back again:

Find that why

Connect with yourself and your art again. Go deep. Go real deep. Why do you do what you do? Why do you love art so much? Why do you click, feel that special connection with creativity? Why does it help you flow, light you up? Why, why, why?

Write about it, talk about it, break down about it, do whatever you need to do…. but go all in.

Understand yourself. Rediscover what you love in life and art. You will be able to define your work again.

Play, experiment, brainstorm

It could be the stupidest, silliest idea ever. Or it could be something that turns into your best work yet. It could be just one stroke on a canvas that you will never touch again. Or it could be the work that brings you back.

Just get back into that playful feeling. Testing out colors just to see what happens. Going crazy and exploring that topic you always wanted to but never got around to.

This will lead to exciting discoveries and through the play, you will find that happy feeling again and start to make things you love. It will happen naturally just like it always has.

Get back to your work! SERIOUSLY- GET BACK TO IT!

I can’t speak for others, but I tend to go into a cocoon, avoid that thing that is bothering me. As a creator, you know it’s bad if that thing is art.

But, truth be told, avoiding it makes you feel more stuck. That’s when the overthinking starts and the negative voices start sucking you in. If we can get back to making art, even slowly, even for two minutes a day, we can start to feel in flow again. If we can create without any expectations and just have fun, we can delight in the feeling of blending two colors. We can rejoice in the feel of the pen and paper. Slowly but surely, the hours start to pass like minutes, and we find ourselves again.

Discover more section:

Website: www.gurmsart.com

Facebook: https://www.facebook.com/gurmsart

LinkedIn: https://www.linkedin.com/in/gurmehar-singh-160a2811a/

Instagram: https://www.instagram.com/gurmsart/

Youtube: https://www.youtube.com/channel/UCJwVzalyQpF9m-9Q4iguROw

NO WAR

Mon, 25 Apr 2022 17:14:30 GMT

We must finally realize that wars and destruction do not make the human race fit for the Divine mission. Disharmonies with nature only exacerbate our inability. Day by day we have to prove ourselves and the Creator that the human brain is able to know the world. In a creative, formative, constructive way.

And then the great ruler will really need us to be present, because in any case we are structural units of the universe, of the created and of the imagined worlds’. BUT, we will only become useful, advanced units of God's system if we learn to feel, to do, and to think for the sake of the whole. And there is no place for total selfishness, stupidity, piety, or excessive self-esteem. NATURA, nature was created at the same time as we were. We were formed, evolved, felt, learned the laws and rules of coexistence with nature IN IT. And now we violate these universal laws and foolishly quit nature and become enemies and consider it our enemy.

In the infinite universe, regardless of our thinking or knowledge, there are worlds created by special or even similar "human" beings, which are perhaps more necessary for the Creator to operate the entire system. If God does not need an irreparable, decaying, defective "component", a dying Earth, Nature, Earth life, he will let it get to the cosmic garbage heap, with all its components. In order to reverse this process, as far as possible, Art and the use of a special system of creative minds are also required for orientation, for expressing feelings and thoughts. The work of art is also born in the same place as scientific discoveries. In the human brain. To the best of our knowledge, we can consider the human brain to be God's creative process of nature, the highest order. This is where the artwork comes from. The multitude of Works make up an important element of the earthly system in universal thinking. We can create works that are important to both the creator and the earthly being. They can be used with details for God's mission to operate the whole world.

Igor E. Prokop. 2020.

The Natalia Cola Foundation hosts a night at the RA

Wed, 30 Mar 2022 19:00:25 GMT

The Natalia Cola Foundation hosts a night at the RA

It was a spectacular evening for the Natalia Cola Foundation as they celebrated their partnership with the RA with a private viewing at the Francis Bacon: Man and Beast exhibition. It was a moving occasion as Natalia paid homage to her home country of Ukraine, and revealed that some of her own family were sheltering in Kyiv. To a room with guests from the art-world, media and politics she wished for a swift end to the conflict. She expressed delight at being able to bring attention to Bacon’s extraordinary work.

It was a meeting of the old school and the new at the private view and dinner on March 8th. Those who knew him and those who admired him. As legendary decorator Nicky Haslam and journalist Geordie Greig spoke of their encounters with Bacon more than 40 years ago, the rest of the guests drifted between the Fine Rooms and the galleries.

The evening began with the clink of a glass as Natalia Cola toasted to the sheer determination and focus of the Royal Academy. After two years of pandemic uncertainty we were able to gather, ogle and in some cases cower at Bacon’s profoundly moving work. It’s intensely atavistic nature perfectly captures Bacon’s mindset when he said to his friend and co-curator of the show Michael Peppiatt, “We are all animals. If you care to think about it. It’s just that some people are more aware of the fact than others.” He said this after they had seen a man getting beaten by a group of thugs. With the lights dimmed, it was a privilege to experience the exhibition in such solitude. It truly was a Night at the Museum.

In collaboration with the RA, the Natalia Cola Foundation has supported and underwritten annual lecture series since 2020.

Follow the link below to the website and sign up for the foundation’s newsletter to be notified of our future lectures and events.

https://www.thenataliacolafoundation.com/news

Why Visionary Art is important for this world.

Mon, 28 Mar 2022 13:47:10 GMT

The term ‘Visionary Art’ was coined more than 95 years ago and defined in 1933 by Carl Gustav Jung in his seminal work: Modern Man in Search of a Soul.

Visionary art is art that transcends but includes the physical world and portrays a wider vision of awareness, including expanded modes of knowing the multi-dimensions of being. It is neither a painting of a thing or simply the absolute abstraction to a point where ideas no longer apply. Instead, the best works of this type are a marriage of both inner and outer, the real and the abstract, the surreal, the mystical, and the dreamlike.

The artist shares a vision and a perspective of the world, their place in the world, and their understanding of where we, as humans, are or aspire to be in that equation. As Rubinov Jacobson said: “Our inner world is the only true source of meaning and purpose we have. Art is the way to discover for ourselves and others, by opening this door to the inner life”.

It is important to see and understand that the paintings these artists produce vary greatly from one artist to another, offering a great constellation and spectrum of vision. The integral visionary artist seeks to explore the furthest boundaries of human experience, entering domains that provide new and positive perspectives that help embracing an expanded vision that will draw us toward unity. Such artists explore dimensions of human creativity, which are being forgotten and can enlarge our understanding and belief in our own inherent amazing potentials, inspiring peace and a new sense of spiritual direction in life.

As a multi-faceted creative person, there is an art to which medium I find myself working in. I use both writing and painting to empower each person’s capacity to transform their life, to build bridges to the soul. There is an intense focus on and true presence in each project I undertake. At the same time, there is freedom and flexibility built into my role as an artist because I am not limited to just one art form. I have been drawn to writing books to show how to achieve inner peace and, somehow, I do the same thing with my paintings. I bring a piece of this transcendent world into every art piece I create. Art can guide us to connect with our inner light, illuminating the shadows and pains of our current predicaments. When people are deeply moved by art, they resonate with their own spiritual truth, with the essence of who they really are.

The artists’ role is to be a leader and a visionary: Not only think outside the box, but to be outside the box, contributing to the change we want to see in the world. Since we are all interconnected, the morphic field of each individual has the potential to influence the collective through creative acts. Mystical visions and experiences motivate us to question our assumptions about life and the world, challenging us to live more profoundly. The deeper an artist penetrates into their own infinitude, the more able they are to transmit that state. Making art (and sharing it) is a way for me to integrate those visions of a better world into daily life.

It is my utmost aim that by contemplating my works, one may momentarily have a glimpse of our immortal light, remembering the silent center of the mystery that is our very soul.

www.monicaesguevaart.com
IG: @monicaesgueva.art
monica@monicaesgueva.co m

Yossérian Geairon

Fri, 25 Mar 2022 09:49:25 GMT

The first thing we see in a work is ourselves. The first truth imposed by the work we are facing is our own. It is an event in that it is experienced. From there, the experience that has arisen from this event is none other than that which we claim, which we seek, which we invoke in the space offered by the painting. In all our experiences, unwittingly or not, we pin the hope of explaining any strangeness to something familiar to us; for what the mind asks for, the body demands.

However, the painting is a space that produces its own coherence, and therefore does not refer to anything except itself. What matters to see is what the work gives to see. Nothing else. To be appreciated, the painting must be confronted in its most concrete materiality. With a certain candor. Yosserian invites us to appreciate the impressions that shapes and colors leave before us, and for that we have to take our time. Find a virginity of the gaze.

In other words, it is about thinking against yourself. For this, it is necessary to pierce one's own reflection that the painting sends back in order to capture its tiniest nuances.

+ Aesthetic Reflections

Wed, 23 Mar 2022 22:11:05 GMT

+ Aesthetic Reflections

Art is a bridge, a way of communicating the depth of our natural make up to others.

+ Aesthetic Perspectivism

In art, there seems to be at least to distinct manners of looking at the world. On the one hand, the general way the external objects and subjects of inspiration exist and that can be captured by means of a neutral lens. For instance, a photographic lens. On the other, the way in which the artist sees things.

The latter is stamped, to the audience’s fortune, on the medium employed. That is, the way in which the artist sees and the subjects which serve him as material are immortalized in his creation. Painting, therefore, is a glimpse into the depth that is the artist. By means of it, one can, momentarily, put oneself in the place of the other, see as the other sees. In other words, art as empathy.

+ The Power of Art

We are able to tell the power that lives and manifests within a piece of artwork in accordance with the length and the efforts put towards its preservation. For it compels us to keep it in existence for as along as we live and die. Hence, the older the artwork, the more powerful it is.

+Two Types of Art

Art comes to us in two types:

-Impulsive

-Rational

Impulsive art is the product of a fury. That is, of madness. The outcome of a thirsty passion par excellance. Thus, the artist becomes a mere means, a medium between the object of inspiration and the created one. His opinion is never asked for, it is a deed over which he has no control whatsoever. For instance, some manifestations of painting, poetry and music.

Rational in the sense that reason is employed as a means for finding the best way through which the main impulse can be realised; an elaborate, clean-cut art, namely, sculpture and painting.

Pascal Lagesse, the “Zafer” style

Wed, 23 Mar 2022 10:52:47 GMT

The word “Zafer” comes from the Mauritian creole and is generally used to name something undefined or when one doesn’t know the name of a particular object.

The influence of Van Gogh in the Zafer paintings come from the fact that some of the master’s brushstrokes tended to take geometrical forms. Spirals and circular shapes that can be seen in his painting “Starry night” and the near geometric shapes found in the painting “Flowering meadow with trees and dandelions” challenged me and I asked myself what if these paint strokes were simplified at their fullest? How would such a painting look like? This is how I began painting with circles, spirals, squares, triangles, lines, and dots.

I wanted to see whether the viewer would recognise a landscape, or an object made of graphic signs. I rapidly realised that the use of circles, triangles, squares, or spirals did not hinder the comprehension of the painting and foremost the intention I wanted to convey. For example, a chicken with a dotted texture, a striped texture, or a texture made of triangles did not take away the fact that it was a chicken in the viewer’s mind. In many cases, the addition of graphic textures made a common subject more interesting. In many Zafer paintings I decided to give the viewer graphically complex skies with colours far away from the traditional blue or grey real-life skies. There have never been any doubts in the viewer’s mind that these were skies. Whether a sky was made of giant circles, huge stipes or dots did not affect the overall comprehension of the painting.

One must not see the Zafers as an interpretation of nature or a landscape out of an LSD induced painter’s brain but as a call for beauty. The Zafers are graphic interpretations of a luminous world, a coloured world, a simplified world opposed to the real world we live in. Here, the world is like I would have wanted it to be. I bear an innocent naivety that one can find in my Zafers. Is it the vision of a child refusing to grow up? This celebration of colours and joy denounces our dull and ugly world around us.

In Favor of the -tych

Sun, 20 Feb 2022 21:27:52 GMT

In Favor of the -tych

Over-sized, gigantic artworks on wood, canvas or other supports is not always practical, even though the visual impact is often impressive. For those who wish to fill up more wall space, however, while adhering to ease of transport or hanging, polyptychs could be the creative answer.

Having some collectors with limited space and often narrow staircases in our region of Germany, combined with my own space constraints, has me, in my newest in-progress series, going deeper into polyptychs.

Historically, polyptychs were popular, especially in the 15th Century for storytelling (to an illiterate public), very often depicting religious scenes, one part of a message/scene per panel. Because they also, often, had „doors“ or were hinged, they could be closed or protected for travel.

All of those needs are not my needs in this century, but nonetheless, the idea "polyptychs“ can be adjusted. My oeuvre is chock-full of flexibility and multi-fill-in-the-blank. I am, afterall, looking at mixing up folk tales, mythology, science and metaphysics. So, it’s great when multiple people see and experience multiple stories and messages. I want people to discuss and opine.

In my last series, I began making diptych’s (2 canvases). Inspired by one of my collectors, I began looking at new ways (for me) of creating one work on multi-canvases. Especially appealing is one of my latest compositions where all four pieces form a headshot of a warthog. Separate, they can be rotated and mix and matched to provide a different look and maybe other figures will be seen. One art connoissuer told me it’s like cloudwatching.

See you next time,
J

If you’d like to see more, please visit my IG at : jordana.rae.studio or come on over to the atelier for a visit! (virtual or otherwise)

OUT NOW! Twelve: Shengxiao Zodiac Creatures in Art and Words.

Wed, 09 Feb 2022 15:40:59 GMT

OUT NOW! Twelve: Shengxiao Zodiac Creatures in Art and Words.

Inspired by the Shengxiao, or Chinese zodiac, Twelve is the first of a two-part book project by award nominated artist/writer Alice Gur-Arie. Twelve offers thirty-two fine art images and twelve short stories which relate to each of the twelve Chinese zodiac creatures we know today as “Year of” animals. The mixed media images are based on photographs taken in France, India and the UK, which have been repainted by hand digitally. Forward by John E. Vollmer. The companion book, Five, is anticipated to be completed by the end of 2022.

Twelve is only available digitally, and can be found here: https://issuu.com/agurarie/docs/twelve

Top to Bottom: Book Cover, Excerpt from The Slippers of Bai Suzhen, One-of-a-kind handpainted photograph Bai Suzhen. For size, price or more information email alice@alicegur-arie.com

Tina Bullen

Mon, 31 Jan 2022 13:43:59 GMT

2021 was the year I finally decided to take myself seriously as an artist. I’m not sure why it took me so long, but it did; also, I would not be the artist I am now if I hadn’t… so I guess it couldn’t have happened any other way.

For me, 2020/2021 was a catalyst. Like many, I struggled at times, and I certainly saw my fair share of changes, surprises, ups, downs, blessings and curses. It’s been a transformative time alright, but for me, I have come out the other side mostly unscathed and with much to be grateful for.

My artwork has certainly been the best it’s ever been because I have not been afraid to engage deeply with my artistic practice, and bring the personal to bear upon it. Because my artwork has now met the ridiculously high standards I set for myself, I have finally felt confident enough to exhibit my work.

GLOW exhibition is really a reflection of that period of deep engagement. It explores themes of connection; to people, places, the world and to feelings. There is a lot of love there – intimate hand portraits, love for the nature around me keeping me sane, and still lifes with some really big feelings poured into them. My soul is displayed for all to see – depending on if I have communicated successfully. How revealing it is to exhibit.

Not only is the exhibiting of artwork revealing, but then I have gone around shouting about it to all and sundry – it’s like being naked and instead of hiding, shouting at people to have a good look. Strange behaviour, haha. Social media engagement has happened more than ever; listings on websites such as Eventbrite; getting my work published in magazines and other websites – all these activities designed to help my people find me have happened this year.

As for the future, I think it will be a case of keep on digging. I’ve recently been collaborating with a poetic soul who is inspiring me to play with words more. I’ve never collaborated on artwork before and didn’t think it would or could work as art is such a personal but quite lonely pursuit, lonely by its nature, but I’m looking forward to working in this way again – it keeps some of the loneliness at bay and brings fresh ideas to the surface.

From: https://tinabullenartshop.wordpress.com/2022/01/11/2020-2021/

The flow of creating art

Fri, 14 Jan 2022 19:12:22 GMT

The flow of creating art

"Flying into my creative world - I experience this state while painting. The moment when I start with a painting, I am satisfied with the sketch and the color palette - when I have the feeling that the picture will be something special I feel delightful. Place, time, hunger, thirst - everything becomes irrelevant. Then I don't want and can't stop to paint. Even if my stomach growls or I know I have a urgent thing to do. I say to myself: “Just paint this one spot” ... and that over and over again - that can drag on for hours. Since I actually paint for myself, it's very therapeutic. New paintings arise from topics that interest me, situations, trips, landscapes, dreams ... I often see my next painting in a dream. Everything in my creative world can become an inspiration for a new painting. I try to maintain the freedom to choose my subjects myself and I love to try out new painting styles, techniques and formats and not just follow a tried and tested pattern. This creates many series, some of them got lots of differences. But that's exactly what I love, variety and games, trying out new things. In the past I used to travel a lot, today I paint the places where I would like to be. I paint a bright future which is beautifully magical and that makes me and others happy.“

For interest and inquires about the artwork, contact:

https://www.monira-art.de/biography-contact/

* Noted international artist Amelie Monira Egenolf (Monira Art) has exhibited in Switzerland, Italy, Spain and Germany and her art is in private art collections in many countries like Canada, Mexico, Italy, USA, Ireland and Germany.

For more about contemporary artist Amelie Monira Egenolf visit: www.monira-art.de or Instagram @moniraart

Color of emotions

Thu, 13 Jan 2022 17:46:43 GMT

The first important STEP

You CAN create the life you want!

If someone told me this a few years back I would not have believed them.

Once I was able to clear my Self-doubt, Art and creativity became my IKIGAI!

With a Design background in Hotel Architecture mostly worked on architectural spaces such as Boutique hotel lobbies, Typical Hotel Room /Suite layout and interior finishes as well as the design of its exterior facade. My Artistic pursuit seeks the ideas that did not get fulfilled due to time and budget constraints.

Soul of my art

What I did learn as a working designer was the interpretation of various global elements woven together in a style that uniquely represents all ideas.

Home has always been away from India and this global nomadic lifestyle has not diminished the roots and connections to Indian culture and heritage. My Art keeps this Indian aesthetic intact within a modern concept.

Inspiration for my Creativity

Sources for my inspiration include Nature for textures and patterns as well as draw from my pre pandemic travel experiences back home to India.

Stories by Rabindranath Tagore, Zhang Yimou use of colour, Georgia O'Keeffe floras, Block printers & silver craftsmen & handloom weavers, Fashion& Fine Art Photographers, Art influences and home Décor bloggers are a constant source of my inspiration.

My art is created from my soulful experiences, memories and global nomadic lens with Indian design language.

Tarunima Sen

Mon, 03 Jan 2022 15:12:07 GMT

Chaos in the Festivities

Festivities are deeply embedded with the strain and triumph of chaos.Call it an event, celebration and/or festival, it is planned along the lines of co-existence in its various forms, and photographs capture an essence of the entire universe that travels within creating that festivity.

I dream of photographing worlds that bring out the best stories and this results in me learning more about the behind-the-scenes action, emotions, and beauty of cultures as well. The cultural heritage of India is dense and diverse, and it is grandiose. This gives me the perfect opportunity to shoot multiple perspectives of one celebration, and what a frame can mean to different people living in the same sphere of notions.

I develop ideas and nuances hidden in contemporary ways of celebrating holidays whenever I visit my muse, Kolkata, a place full of wondrous entities during the time of traditional festivities. Through my work, I talk dearly of the place that immerses in making a festival grand for days at length, before starting over for another to follow. Observing the chaos in these chaotic realms and the beauty in them, it is easy for me to say that photography evolved with these festivities.

Discover More

Instagram: @taroonima_sen

Gabrielle Mar

Tue, 28 Dec 2021 13:22:21 GMT

Gabrielle Mar

Art is infinite, we are all blessed by how it touches our hearts and changes the course of our lives. Its power is magical and magnificent.

Often I find my thoughts floating in a spiritual sea, experiencing amazing colors with the mind's eye. My inspiration feels like a high voltage energy ready to be released into the world. I channel that energy through my years of traveling, piano playing, design projects, as well as past experiences from graduate studies in art history research, with an Eastern art sensibility to bring forth my own unique contemporary style.

I've been working primarily with acrylic and flashe paints, using vibrant colors in gestural strokes with thoughtful color blending and texture. My technique is inspired by calligraphy with intention to create a fascinating play of colors and explore new possibilities and forms of imagination. Art is my outlet for manifesting dance-like movement and musical rhythm onto the canvas. It's an emotional and exciting practice for me to condense life and nature essence onto canvas.

Currently a member of the Los Angeles Art Association and based in Hermosa Beach, California, I am a Los Angeles native, Taiwanese-American artist with Vietnamese and French family cultural background. I have received a M.A. degree in East Asian Studies with concentration on Art History from the University of California Santa Barbara and additional graduate studies at the University of California San Diego Department of Visual Arts focused on the intersection of Eastern and Western modern art. My works are collected in both Taiwan and the US.

Website: https://www.gabriellemar.com

Instagram: @gabriellemar.art

Very Peri, Pantone's Colour of the Year 2022

Thu, 16 Dec 2021 20:31:37 GMT

Very Peri, Pantone's Colour of the Year 2022

Pantone has just announced their Colour of the Year for 2022: Very Peri, a stunning periwinkle that encompasses the qualities of blues, with a violet red undertone.

Laurie Pressman, Vice President of the Pantone Color Institute comments, "The Pantone Color of the Year reflects what is taking place in our global culture, expressing what people are looking for that color can hope to answer.” Pantone says Very Peri displays a spritely, joyous attitude and dynamic presence that encourages courageous creativity and imaginative expression.

These one-of-a-kind images are the first three in my Pantone Colour of the Year 2022 collection, inspired by nature, and intended to reflect the attributes of Very Peri as Pantone describes them. The artworks combine photography from France and Germany with painting. Treating my photograph as the canvas, I interpret as I repaint the picture by hand

digitally in layers to achieve washes, enlarging the image to paint pixel by pixel where detail requires.

Featured here: Spring Parade (Germany), Displacement 2022 (France), and Lilac Leaves (France).
For size and price details email alice@alicegur-arie.com

CONTACTS

Website: www.alicegur-arie.com

Instagram: @alicegur_arie

Licensing: artists@bridgemanimages.com

Commission: alice@alicegur-arie.com

Gallery: https://www.singulart.com/en/artist/alice-gur-arie-24559

“GUMAN INSTALLATION II” AT THE MERRY CLISTMAS MARKET IN BERLIN

Tue, 07 Dec 2021 20:00:13 GMT

“GUMAN INSTALLATION II” AT THE MERRY CLISTMAS MARKET IN BERLIN

Berlin-based Italian visual artist Caterina Carraro presents a site-specific installation at Merry Clitsmas Market, an educational and sex-positive exhibition dedicated to the clitoris, on view on 4 and 5 December 2021 at Alte Münze, Berlin.

The artist's artistic practice aims to investigate queer issues in the contemporary era. More specifically, through her pearly non-binary icons "Guman", she promotes a non-hierarchical and non-binary coexistence on this planet.

In “Guman Installation II”, the Guman take root and merge with the natural world: a tree branch houses the creatures in its mossy surface, helping them to thrive. A graft that becomes a metaphor for how the acceptance and welcoming of diversity can be a starting point to provoke change and innovation. The reference to the natural world and the ability of plants to fertilise themselves is more than a conscious choice: the artist reflects on the destruction of the male-female binomial and criticises the heteronormative approach to procreation.

The Guman, she explains, "are unicellular organisms, laboratories of life, autopoietic systems that take their name from the feminist writings of Donna Haraway".

Caterina Carraro's speculative fabula inspires the viewer to multi-species respect in a queer ecology perspective, a real movement whose slogan can and should be remembered: "Guman are queer".

Text by Clarissa Spoladore

CONTACTS

carrarocaterina93@gmail.com

instagram: caterinacarraro_artistdesigner

website: carrarocaterina.myportfolio.com

Clarissa Spoladore - Instagram @clarissaspoladore

Why do we need to open creativity in kids when they already have a rich imagination?

Tue, 30 Nov 2021 14:21:44 GMT

Why do we need to open creativity in kids when they already have a rich imagination?

There is no secret that creativity nowadays is needed not only for designers or artists. It is equally important to a CEO, a manager, and even an ordinary employee. That’s why there is a lot of discussion about the development of soft skills among adults in a professional direction, for example, when applying for a job.

But what about the kids? Do they need soft skills? Do they need to be creative considering their imagination level is sometimes beyond understanding?

For 20 years I have been working with children in the field of arts and applied crafts (the last 11 years of them in the city of Dubai). And I noticed an interesting trend among students who attended my classes for a long time. In addition to improving the drawing techniques, the basics of composition, the combination of colors, they seemed to open up, became more self-confident, relaxed, and expressed their thoughts more easily. Initially, I justified this by getting used to me as a teacher, perhaps the hand became stronger in drawing. But the feedback from the parents was not about drawing, they also noticed how the children happily run to the lesson, how they became more confident. So, I started the research about the topic of child development THROUGH PAINTING & DRAWING. It turned out that there is a treasure trove of advantages and benefits lies in such a simple, fun and exciting activity.

Probably, you are now thinking, what does the SOFT SKILLS and DRAWING have to do with it? How can you develop self-confidence by scribbling with a pencil on paper? What is the connection between finding out-of-the-box solutions and watercolors? – The relationship is very direct.

Undoubtedly, all children love to draw, regardless of age and skill. Especially, skills ... and sometimes comments about children’s work like: "what kind of scribbles/NONSENCE/weird/crazy did you draw, could have done better" – definitely this will not contribute to the development of soft skills like confidence. Instead, ask your child a simple question – “what is this interesting thing you drew?”, “Who is your character?”, “What is his name?”, invent even stories together around the subject. Use the child’s imagination with fantasies to open up his self-expression, confidence & creativity even more.

In this fast-changing world of technology, robotics, artificial intelligence, our kids need to be super creative, generate ideas and see opportunities everywhere. I personally think that creativity soon will become a mandatory skill of survival in future. And this extremely simple exercise trains all of that. Moreover, just showing this interest in your child’s inner world brings you closer and establish a very warm, emotional connectivity.

More interesting ideas and hints you can find on my Instagram page @ PlayArt_UAE

Original art greeting cards for Christmas

Mon, 08 Nov 2021 20:18:41 GMT

Original art greeting cards for Christmas

These seasonal greeting cards were made following the same process I use in my fine art practice. It starts with taking
a photograph, which I treat like a canvas. The photograph is interpreted as it is hand painted digitally with a "brush”,
sometimes in “washes” or layers, sometimes pixel by pixel as detail requires.

The contemporary and traditional images here originated in France, Portugal and Israel.

6” x 4” & blank inside. Individually wrapped. 3 / £10.50 Orders and enquiries: alice@alicegur-arie.com

Behind The Walls

Mon, 08 Nov 2021 14:52:58 GMT

Behind The Walls, by Pascie

www.a rtisttalkmagazine.com/pascie

This September I had my very first solo exhibition, titled ‘Behind The Walls’ featuring artwork from the same-named series. In the wide-open industrial space of NDSM Fuse, large-scale paintings took center stage. In addition, there were smaller paintings, study drawings, and an installation. All part of a large body of work that I created between January and July 2021 from my studio in Antwerp.

The main topics of investigation for this series have been various historical and contemporary social structures projected through wall rhythms. Each work offers a reflection on one of these societal issues. For example, the discord of people on nationalism, the ongoing genocide of domesticated animals and wildlife, and the environmental nightmare resulting from our capitalist system. And often, they are somehow about the jungle of the human experience as well as a means of inquiry and spiritual development of myself.

What I enjoy is inviting the unknown and the unexpected, moving from chaos into harmony and back, exploring complex relationships and hierarchies. I prefer to work experimentally while listening to rhythms to create bold artwork, inspired by the challenges of the "human project". My work is meant to explore, to usurp, and to go beyond what is behind. This exhibition, with a focus on very large work, was exactly about that.

Obsessed by Abstract Expressionism

Sat, 30 Oct 2021 11:49:02 GMT

Obsessed by Abstract Expressionism

I do call myself an abstract expressionist painter, and I am definitely completely obsessed with this period in art and time. Last year I was thrilled to complete the study: In the Studio Postwar Abstract Painting, Museum Of Modern Art, New York. I want to share an exert from my final project 'Blue Poles' Number 11, 1952 by Jackson POLLOCK.

’Blue Poles’ is more than two metres high and almost five metres wide. I absolutely love this vibrant dynamic work, full of energy and movement. The complexity of layers, movement and colour allow the view to look for hours and always be discovering more. I have visited it many times growing up and it is always inspiring to see in person.

'Blue Pole s’ by Jackson Pollack was purchased by the National Gallery of Australia for $2 million US dollars in 1973 under much controversy and criticism. Painted four years before Pollack’s death in 1956, the purchase price set a new record for Pollock and was at the time, the most expensive American painting ever sold.

'Blue Poles’ was painted at the height of Pollock’s career and fame, and is a perfect example of abstract expressionism action painting. Pollock has used his characteristic method of dripping, splattering and pouring fluid paint in a continuous stream onto the canvas from above, using sticks, dried brushes or syringes. Pollock allowed his full body movement to be engaged, and you can see his grand, sweeping lines of flung paint. The focus on the physical action is evident, Pollock’s physical arc of the arm as it swings across the canvas can be seen in the brightly coloured dry paint.

I highly recommend this short documentary on Jackson Pollock and the purchase of ‘Blue Poles’: https://www.youtube.com/watch?v=GMgz-p0jjBI&feature=youtu.be

Sol Barberis

Wed, 27 Oct 2021 19:39:18 GMT

I was born in Buenos Aires, where I lived until I finished high school. At the age of 18 and by my own choice, I went to live in Paris where my father lived at that time; and there I stayed at the beginning learning the language and working temporarily, and then studying.

I have always felt attracted by art and its different forms, leaning more towards painting and scuplture. Not long ago, I introduced myself into the world of collage.

At first I thought that the fact I don't have any knowledge on the use of design programs such as Photoshop would be an impediment, but instead the constant use of the scissors let me improve my fine motor skills and it also took me to a special place in my childhood I had once forgotten. I also found a way to escape the everyday routine and the pleasure of doing something I really enjoy and, that brings me peace.Through the images I use, their colors, textures, characters and objects, I try to express my thoughts and feelings.

I am currently dedicating myself to a job that has nothing to do with the subject at all, I could never stop doing something in parallel that connected me a bit with that side of me. I did a year of drawing and painting, later I did two years of Interior Design and I attended the Art History classes for two years at the National Museum of Fine Arts. I also did workshops on sublimation, on Creative Unblocking and finally, in the midst of the pandemic, I did two virtual workshops on Experimental Collage.

I am very attracted to images in general with bright colors, both of flowers and nature as well as some human figure. I admire photography, painting, I love textures and above all good aesthetics. My work is inspired by both artists and the wonderful nature that surrounds us, intervening in the images I make my own interpretation. Making collage transports me, takes me to a place deep inside me, almost a dream, to which I turn every time I need to find myself.

Discover More - www.solbarberis.com

Luise Ellerbrock

Mon, 18 Oct 2021 14:16:37 GMT

Growing up in Dortmund in the middle of the Ruhr area, I came into contact with art of all kinds at an early age through my parents. Thus, both of them are passionate about travelling and photography and showed us early on to use the bright and multifaceted colours of the world as inspiration for our lives.

After my teacher training in Cologne and Dortmund, I first taught and lived in Mexico City. This stay in particular allowed me to get to know the beauty and diversity of different cultures and nature and to initially capture them photographically. But also journeys through Europe inspire me again and again.

My impressions and experiences find expression in painting. Abstract painting gives me the opportunity to revive memories on canvases through different colour combinations, textures and techniques and to make them comprehensible to the viewer.

My paintings always arise from an emotion and are therefore a part of me. I want this approach to have an authentic effect on the viewer.

Elysia Gilman

Sat, 16 Oct 2021 14:11:58 GMT

Born and raised in scenic North Wales, Elysia Gilman is an artist who primarily works in oil paint to create vivid portraits, dynamic sporting scenes and other figurative work. She is inspired by the impressionists, using confident brushstrokes and colourful marks to create pieces which encapsulate a moment in time.

From a young age, Elysia’s family could see a clear love for art – she would spend hours painting and would use anything she could get her hands on to try and create something new.

By the age of 17 she had won 1st prize in the national MOMA Machynlleth Tabernacle Art Competition and, whilst studying A Level Art,
she completed commissions for both her art teacher and former headmaster. She then went onto successfully complete an Art & Design Foundation at university.

“I love the freshness of drawing from life and would often sketch my classmates during lectures! I have a range of subject matter but I’m always fascinated by light, colour and capturing a snapshot in time.”

In 2020, Elysia was studying Fine Art at degree level but, when lockdown came, she decided to leave university to pursue her dream of setting up her art business. This is something she had always wanted to do, so she took a leap of faith, moved back home to North Wales and started painting full time.

Elysia continues to take commissions following the successful completion of her studies at the Realist Academy of Art at Walton Hall in 2021. Furthermore, in a competition hosted by Busy Bees Nursery, her portrait of late founder John Woodward was awarded 2nd place, and will be displayed in Busy Bees’ Singapore Headquarters. Her work was also featured twice on Sky Arts Portrait Artist of the Week.

“Painting the way in which light falls on objects is always fascinating to me – I’m always drawn to dappled light and long shadows – as this helps me create contrast of light and shade in my work. I often paint in layers, using impasto strokes for the finishing touches to create texture and depth.”

After being inspired by watching a documentary on television, Elysia has also created a series of artwork based around The Savoy Hotel. Her artwork capturing moments has been enjoyed by staff and guests of The Savoy alike.

Website: www.elysiagilman.co m
Instagram: elysiagilmanart
Facebook: elysiagilmanart

First, I bought a bike…

Wed, 13 Oct 2021 14:45:20 GMT

First, I bought a bike…

I’m one of those persons that strongly believes that life gives us much more than it takes from us. I’ve learned it the hard way…

On a Sunday in 2019 I lost my husband. My life just felt apart on that day. I remember that I kept asking myself “What am I going to do? And my four kids? Why?” and then someone came to me and said, “Don’t question it, instead, ask yourself, for what?”. On that moment I did not understand very well but, today, I know exactly the answer: for getting up again and make something out of your life.

So, first, instead of going directly to psychotherapy, I bought a bike! Sports always made a part of my life and I always wanted to have a good road bike, so why not?!

Many adventures and new people came into my life, that today are very good friends… but somehow, something was missing… the “building” part was missing.

The pandemic came and like everyone, everywhere, I had to stay home for many months. I started thinking that this event was bad, but I had to find the good part of it, because in every bad thing, there’s a (hidden) good thing. One day, in September 2020, I woke up thinking about my grandfather and my happy afternoons at my grandparent’s house, watching him painting, wondering why I did not pursuit my dream, which was to be a painter, an artist. That thought stayed in my mind and on that afternoon I bought my first set of Aquarela paints.

Yes, I’m self-taught emergent artist from Covid, but if there’s one thing I know is that one can have as many beginnings as one needs or wants. I found myself feeling and looking at things in a more profound way, opening all my senses to look between the lines of life. Ultimately, there are no boundaries for the human mind if we let ourselves be taken by our creativity. I felt my art could not stay forever in silence.

I started with watercolor, changing very quickly to oil and recently to acrylic. For each one of these mediums, I find a different journey and way to express myself. Watercolor offers me refuge from my stress and problems, somehow the water and the paint take me on a relaxing dance. Oil is my medium for landscapes and skies because of its majestic texture. I use acrylic and its techniques to define my many layers of deep feelings and emotions through abstract painting. In each one of these mediums, color takes a very important role because defines my state of spirit.

I’m hoping the viewer can feel all the layers of feelings and emotions not only through design and value, but also through color and texture … layers of dramatism, happiness, hope, grief, celebration, resilience, clarity, darkness, love, memories, dreams and visions…

“Layers” was the name of my first exhibition that took place this month, and it was a success. My dream came true. I know I have a lot to learn and to discover as an artist, but that is the amazing part. Getting out of our comfort zone is when all things happen.

Layers are what we are made of. They are what defines our lives, like thousands of photographs pilled up inside of us.

CREATING UNIQUE & HONEST ART

Thu, 07 Oct 2021 17:46:09 GMT

ANNIE GENDREAU - CREATING UNIQUE & HONEST ART

Whether it’s the people we meet, the places we go, or the interior of our homes, our life is craving authenticity.

Living a genuine, sincere, honest life is what I strive for, especially in these times. When I create, I want to convey this, I want the viewer to feel this. My art is me, it is all I have got right here on this canvas. I give a part of myself, of my history, my emotions, my experiences, every time.

Born in Quebec, Canada, Annie Gendreau has lived and worked across four countries, which has contributed to her style and deeply influenced her work.

Through expressive and textural work, her intensive process involves multiple layers, where she dives in an exploration of shapes, lines, surfaces, balance, and textures. She uses a restricted color palette to create harmony

“Completely detached from an original image or subject, my work is characterized by the spontaneity in the movements and by responding to the painting as it evolves. I do not wish to search for motifs, but only experience and feelings. My work process is not subject to rigid rules and just follows the way of the subconscious, working in a flow state, where everything and everyone around me disappears, I am inside the painting.

To learn more, see or buy the work of the artist:

www.anniegendreau.art

Instagram @anniegendreau_art

Celine Lundqvist

Mon, 04 Oct 2021 15:46:06 GMT

Celine Lundqvist is a Swedish photographer, recently graduated from Edinburgh Napier University with a Bachelor of Arts in Photography. She is currently working as a photography trainee for Sign of The Times in London, UK.

Her work mainly revolves around female empowerment and equality issues. Feminism is an issue that has been close to her heart since she was a teenager and this is something that can shine through her photography projects.

Her biggest and proudest bodies of work are ”WOMEN”, and ”Living With Endometriosis”. ”WOMEN”, which has been exhibited in London and is to be exhibited in Rome this winter, is a work created to reflect and discuss the lack of diversity in the fashion industry. You can find the project HERE: (link: https://issuu.com/celinelundqvist/docs/womenmagazine )

”Living With Endometriosis”, which is about to be exhibited in Athens, Greece this month, is a project created to bring awareness to the lack of understanding of the chronical illness endometriosis that so many women suffer from, often in silence. Celine herself grew up with the illness and has often been met with ignorance about the illness, even from doctors. With this project she met up with other women that also suffer from endometriosis and asked about their experience, through this project she hopes to bring some light to how the women suffering with endo actually live.

Celine shoots on 35mm film and digital photography and usually mixes these two together in her projects. When she is not photographing or working, you can usually find her out and about in London, exploring the city with her boyfriend.

If you want to see more of Celine’s work you are welcome to have a look at her instagram @celinesportraits or her website http://celinesphotos.myportfolio.com

Self Portrait

Sat, 02 Oct 2021 16:39:12 GMT

Lorcan Cassidy is a Dublin based visual artist. He graduated from NCAD with a BA (Hons) degree in Fine Art Sculpture and Expanded practices and is a member of Ormond Art Studios.

As a visual artist, Lorcan’s work revolves around creating alternate realities/other worlds/narratives and then making 3D work and/or drawing objects/artefacts/creatures/specimens from these various fictitious realms. The entities he creates usually come from the concept of manifestation (abstract ideas/feelings given physical form), hybridization, amalgamation and/or building on/corrupting pre-established mythological/scientific lore or simply constructing his own.

A main emphasis of his work is on the uncanny. This consists of subject matter that looks bright and colourful at first glance but upon closer inspection, there is a sinister undertone.

Autumn Transition

Fri, 01 Oct 2021 14:34:24 GMT

Autumn Transition by Vian Borchert

Accomplished artist Vian Borchert’s series of paintings in a collection titled “Autumn Transition” are on exhibit for the Fall season in the DMV / Washington DC area. The “Autumn Transition” series depict the current mood of the artist and the change of atmosphere in the air from hot summer evenings to the breezy short days of Fall through metaphoric glimpses within the art. As we begin to witness the Fall of the leaves and the change in the air and season, a transition is about to happen. Perhaps in the Fall, we’ll fall back to our old ways and back to our normal lifestyle, routine and everyday mundane activities. The schools have opened up, children are back at school like normal, COVID seems like a thing of the past, or is it? The Fall in a way will show us the way of what will come ahead. After a turbulent year that has been marked by disease, death, war, wildfires and natural disasters, will Fall take it slow and bring us much needed ease to the atmosphere? The artist ponders such a question along with stepping back and falling back into old ways of slowly resuming life and getting back to activities of Pre-Covid era times. The Fall by itself is a season of transition and change. It is the beginning of the end so to speak of the luscious green landscape transforming slowly into shades of brown, burgundy and beige while falling back to the earth for a form of rebirth. The cycle of death takes many shapes and forms while going through a multitude of colors before all wither and die, disperse, disappear into the cold barren Winter season. The conceptual idea of such a transition is presented via shades and colors abstractly and conceptually through the artist’s poetic vision. For the art of Vian Borchert hints and evokes to ignite the imagination about our nature, our environment and our ever changing world.

One can view the works in this series through this VR gallery tour:

https://artspaces.kunstmatrix.com/en/exhibition/7705436/autumn-transition

For interest and inquires about the artwork, contact:

https://www.vianborchert.com/contact.html

* Noted international artist Vian Borchert’s art has been on exhibit in prestigious places such as the United Nations General Assembly’s Public Lobby Gallery, NYC, and in “Art Basel Miami Beach” Spectrum Miami, 1stdibs Design Center in Chelsea, NYC and the LA Art Show. Vian's art is in private collections worldwide, embassies, and museums. Borchert exhibits in major world cities such as NYC, LA, Washington DC, London, Rome, Berlin, Amman and Dubai.

For more about multidisciplinary artist Vian Borchert visit: www.vianborchert.com

* On a poetic note and encompassing the "Autumn Transition" theme, here is a poem titled "Fall" by Vian Borchert:

Fall

By: Vian Borchert

Fall, thou art so lovely!

Your turning colors

from red to orange and even burgundy

Sparkle and twist

with every wind breeze.

Fall, thou art so lovely!

In every Fall

I fall apart

aching for change

to fill my heart.

Fall, thou art so lovely!

The parks’ paths filled with fallen yellow leaves

The trees turning orange

Colors of the sun so warm and bright

adorn every dead leaf fallen on the ground

With every step

a crunchy leaf

at your feet.

Fall, thou art so lovely!

Fall, thou art so splendid!

You made an art of turning death into

a nature full splendor!

* One can view and hear the poem recited by artist & poet Vian Borchert via this video link:

Also, via this link:

Featured in the LensCulture Art Photography Awards Gallery

Tue, 28 Sep 2021 15:05:58 GMT

Featured in the LensCulture Art Photography Awards Gallery

These images were featured by LensCulture in their Art Photography Prize gallery. They are all one-of-a-kind prints, photographed around the world and repainted by hand digitally.

If you’d like to see or know more about my practice, or would like to buy or commission a one-of-a-kind artwork, please contact me directly - alice@alicegur-arie.com and @alicegur_arie.

“Let there be no boundaries. When you lose all sense of self, the bonds of a thousand chains will vanish. Lose yourself completely, return to the root of the root of your own soul” - Rumi

Tue, 07 Sep 2021 15:15:03 GMT

“Let there be no boundaries. When you lose all sense of self, the bonds of a thousand chains will vanish. Lose yourself completely, return to the root of the root of your own soul” - Rumi

Drawing inspiration from this quote by the famous 13th-centuary Persian Poet, Rumi, my ongoing series “Let It Flow” is the genesis of the long therapeutic process of finding myself in the madness around me. This is a “confinement” series, as are most of my 2020 and 2021 works and is specifically close to my heart as it embodies the true spirit of rediscovering myself. The pandemic has been a tough time for all. Experiencing unhappiness and loss of our loved ones, takes a toll on a person’s mental and emotional well-being. It makes you think and re-evaluate your being and life choices. Add ‘confinement’ to the mix and you have a fantastic recipe for a total fall out. “Let is Flow” series has found a cathartic place in my life through which I have poured all my emotions on canvas…. when words have failed, I have found expression in art. Confinement has been a time for character building, for introspection and rediscovering my purpose in life. It has made me look deep into my soul to discover who I really am. It’s a long journey and I am on a beautiful path of rediscovery already.

The urge to create can sometimes send you in a frenzy especially when you have plenty to express. I found myself experimenting a lot in this series, trying out newer mediums, styles and color combinations which are uncharacteristic to me but so important for emotional release. I have usually been very conscious in choosing the color palette for my works but for this series, I just let it flow. I have used colors that have made me feel both vulnerable and empowered. I feel colors truly express our feelings, emotions and personality. Through my Art, I aspire to connect with my audience with the all-embracing understanding that we all go through the same emotions, vulnerabilities and struggles and that it’s alright to just let go and release everything in the process to rediscover our true self.

In this time of confinement, I have discovered that my studio, though small, is my space for
finding solace. It is here that I feel completely in my skin.

Having lived in Sri Lanka for close to a decade, I find inspiration for my abstract landscapes, from the resplendent land and sea forms I behold around me. Sri Lanka is a tropical island of jollity sunshine, golden sands, turquoise seas and energizing mountains and lush tea gardens. Inspiration is abundant. My creative inspiration and artistry not just come from my country of residence but also from the places I have traveled to around the world.

Being drawn to the brilliance and intrigue of polarities, my abstract pieces dwell on the aspect of duplexities of light and dark, of movement and stillness, and of compliment and contrast between elements. This contrariety can be seen in my recent work of “Let it Flow” series.

Let there be no boundaries for expression and just let it flow…

Website: www.trishadullufineart.com
Instagram: @trishadullu.fineart
Twitter: @TrishaDFineArt
Facebook: @trishadullu.fineart

Andy Rowe – Mixed Media, Found Objects and Images.

Wed, 01 Sep 2021 16:29:20 GMT

Andy Rowe – Mixed Media, Found Objects and Images

Isolation Corona Table To Make Time Pass. Varnished acrylic, found objects and images on pasting table.

At the start of the lockdown period I realised that buying extra art materials would likely be difficult and so I decided to restrict myself to using materials that I already had around me in my home. The first item that I decided to make use of as a basis for an artwork was a pasting table that I found in storage that had previously been used for home decoration. I thought that it would be an interesting exercise and a constructive use of lockdown time to attempt to take this object away from its original purpose and re-employ it as a sculptural mixed media object.

Many of the images within the piece were taken from old magazines that I already had to hand. I chose them initially for their aesthetic qualities and for how I thought they would look when placed together within this new framework, removed from their original context. I realised at the time that some of the images could relate to my current circumstances and to those of the world outside. However, many of the images did not reveal connections to me until later and I became intrigued with the processes I had unknowingly used to choose them. Image themes tended towards family, friendship, contact, being alone, breathing, and open and closed spaces. Two of the larger images within the piece specifically pertain to live music performance, an activity that was completely denied to people as the pandemic took hold. These images were drawn from photographs I had personally taken at the last live music concert I attended prior to the pandemic.

Extra varnish was the only item I ventured outside to buy as DIY shops remained open because they were deemed an essential service. I have always felt a need to coat my artworks in varnish or an equivalent coating as for me it serves to finalise them and to make them real, as well as providing a protective layer. I have reflected on this technique and think an explanation would come from my younger school years. As a class we would often be made to cover our exercise books with adhesive plastic to protect them and I would also attempt to do this with various membership cards for clubs that were in some of the comics I would read as a boy. For me, a membership card would not be authentic unless it had a plastic or vinyl coating that made it real, like my passport.

Isolation Corona Table To Make Time Pass. Varnished acrylic, found objects and images on pasting table.

The finish ed piece can be presented as both a sculptural object and as a mixed media painting. It still has the qualities of a foldable table and so can be displayed in various positions. My personal preference is to display it on its side, open at about 90 degrees. This enables almost all the detail to be viewed.

Dual Tape Intersection Feline Proximity Sound Painting Nearly Black And White . Varnished acrylic, hessian, found objects and images, microcassette recorders with prepared tapes on cupboard door.

Self-Portrait With Triceratops And Found Objects. Varnished acrylic, found objects and images on canvas.

On finishing the Isolation Corona Table project, I then produced work of a similar type while lockdown continued, using found images and objects and recontextualising them into new pieces. I also create work as a sound artist and so as well as producing audio and video pieces, I explored ways of presenting sound within these mixed media pieces. Sometimes I included found minicassette tapes within the painting itself. I also used cassette players as part of the painting, playing sound while the painting is observed. An example of this technique is in the later lockdown piece Dual Tape Intersection Feline Proximity Sound Painting, which can be viewed here : https://vimeo.com/422812100

Further details and examples of work : www.slatepipe.co.uk

Waiting for the End

Wed, 25 Aug 2021 16:29:03 GMT

"Waiting for the End" is a part of my recent figurative, self-portrait series (2019-2021), Just Breathe. These snapshots capture my personal challenges with mental health, chronic pain, motherhood, and our ever-changing world, through the gestures and expressions felt from specific lyrics and music. Music has always been a driving force behind my art, however, the particular rock songs and lyrics that make up this series, did the talking and sometimes screaming for me when I felt I couldn’t find the words; making it very necessary for me to recognize the bands with the artwork they inspired. The urge to create can sometimes feel manic, but the drawing process, though tedious and time-consuming, helps to slow down the mind, proving over and over its cathartic release. While healing wounds with each piece, I continuously find myself building, experimenting, and growing in technique and medium. Through my art, I hope to connect with viewers through our universal struggles and the taboos that challenge us. As a female artist empowered by my own vulnerabilities and motherhood, I hope to show my daughter and her generation the importance of utilizing the arts to be introspective and build up communities. View the full series: MDFerrera.com/just-breathe

I'm also eager to promote a project with an upcoming event, that is an extension of this Just Breathe series. I was given the opportunity by ArtReach, San Diego, to create original artwork on a Guitar as part of 2021's Guitar Art Auction. My guitar, "Breathe Again" was inspired by the band, Pop Evil of their song of the same name, you can view it here: ArtReachSD Guitar Art Auction/Michelle Lubin The Guitar Art Auction supports visual arts education for youth at San Diego County schools and community centers. Proceeds from the auction directly benefit ArtReach's free and low-cost programs for young people that may not otherwise have access to visual arts opportunities. Bidding opens September 1st. All Guitars will be on display during Mission Fed ArtWalk in Little Italy, San Diego on October 2 - 3rd, 2021 from 11am - 6pm. As the 2020 recipient of the Business of Art Scholarship, part of the award is having my very own ArtWalk booth, where I will have original works for sale, including some from the Just Breathe series and older art pieces. For more information on ArtWalk: ArtWalkSanDiego

Kathleen Rhee

Mon, 02 Aug 2021 14:48:05 GMT

Being connected to the natural world brings me peace and pure joy. Australia is one of the most special continents in the world. A country of exotic colour, unique bushlands, majestic mountain ranges, turquoise waters, striking arid deserts and special wild life. Its the place I am proud to call home. The place I was born and grew up. The only place I want to be.

Growing up in balmy temperatures on the North Gold Coast/Brisbane hinterland meant that I enjoyed a simple, active childhood in nature with my brother, sister and many cousins. We love building cubby houses out in the bush with our neighbourhood friends. We often visited Mt Tamborine for walking in the rainforest and swimming in the rock pools. We enjoying big family picnics along the Morton bay shoreline at Cleveland and Redland Bay. We would go swimming at many beaches, both on the Gold and Sunshine coasts. My most favourite times were catching the old barges over to the many Morten Bay Islands on weekends with family and friends, and also for many school camping trips.

I find beauty and calm being out in nature, I find a sense of connection to the earth, to myself and the feeling of stability. For some reason, it just comes naturally to want to represent that in my work and translate those feelings with paint. I think when you let nature into your life it has a way of connecting you to what is truly important to you and allows to let go of what is not. This is something I am always seeking.

I do hope the viewer takes away a sense of peace from nature but most importantly that they can finish the story I start and that they make a connection unique to themselves.

GOLDEN HOUR

Sat, 31 Jul 2021 18:42:55 GMT

GOLDEN HOUR

Aimedaphi Sohkhlet: Born and raised in Meghalaya, India and now residing in Scotland, United Kingdom. My life is full of beauty. My art is inspired by the landscape around me and it’s various vivid colours. To translate the beauty of nature onto the canvas, I gravitate towards saturated colours that I believe would convey the life of nature. This life is then also brought forward in my paintings with the use of texture that I add to all the paintings. I’m a young soul living life to the fullest and appreciating the beauty of the world around me through my art. I paint each piece with the hope that people relate to it and come to appreciate nature as I do through the small glimpses of the world that I have captured in my paintings.

Bridgeman Images Takeover

Tue, 27 Jul 2021 14:17:51 GMT

Bridgeman Images Takeover

These slides are highlights from a recent Bridgeman Images Instagram Takeover. It was designed introduce myself, talk about what inspires me, illustrate my themes, explain my process, and present some of my favourite works. If you’d like to see or know more about my practice, or would like to buy or commission a one-of-a-kind artwork, please contact me directly - alice@alicegur-arie.com and @alicegur_arie

The Call of the Sea

Tue, 20 Jul 2021 11:20:18 GMT

The Call of the Sea

We all have that place, space or situation that we call our ‘happy place’ (and if you don’t then I urge you to explore until you find it). It’s that magical place where you feel your best version of yourself, where you feel calm and centred and where (in my case) your creative juices flow. For me, that place is the coast - more specifically the North East coastline of England.

I don’t know what it is about the sea that draws me to it but it’s like some sort of beacon pulling me in. Perhaps it’s the sounds, the smells or the feeling of the sand and the sea on my feet. Perhaps it’s a combination of all of those things. When I’m there, I feel at peace and when I’m away, I want to be there. I was brought up in the North West and, after visiting the North East for the first time, said to my dad (who’s dad was from Whitley Bay) ‘It’s like I have a biological homing chip that’s pulling me back.’. Now I live 10 minutes drive from the North East coast and can’t imagine living anywhere else.

For as long as I can remember, I have struggled with overwhelm, low mood and stress. It turned out I had been burying long term depression. It made immediate sense when I was diagnosed. There were so many signs that I hadn’t recognised - I’d gotten really good at ‘keeping calm and carrying on’ to the point of regularly burning myself out. It became so predictable that my husband knew which times of the year I was going to have a burn out. Despite his efforts to minimise my stress, I continued to push myself and overdo it, until I had this label of being ‘depressed’.

Yes I was given medication and a small amount of counselling but they weren’t the only things that made the difference. The big difference came from having me time (a shocking revelation as a relatively new mum), talking things out with people I trusted and being at the beach. There, I feel my troubles and stress instantly melt away and I can see things clearly again.

So what does this have to do with my art? Well, early on I was hopping from image to image creating things that I thought people would like (as well as the peacocks which were totally for me). There was no real depth or reason for anything that I chose to make unless I had made it as a gift. During lockdown, I realised how utterly vital it was for me to be by the sea because there was a long stretch of time when I couldn’t go there and my depression took a massive hit. This was when I realised that I wanted to make artwork that reflected my need for and relationship with the seaside.

I scrawled down notes about everything that I loved about the sea. Some of the words that cropped up were: freedom, calm, content, pebbles, treasures and shells. I came up with so much that it was a little overwhelming (ironic) so I went for a walk along the beach with my camera and found myself collecting pebbles. I found different colours and textures and enjoyed the tactile nature of holding and stroking them. ‘This,’ I thought,’ is where I need to start!’

And so began the Seaside Treasures Collection - an exploration of the intricacies of pebbles found on my calming walks. It’s a close up of the surfaces and colours that each tiny treasure possess. It’s amazing to wonder where they started life and what they’ve been through - each completely different because of their journey - much like people are.

To add challenge to the project ( I can never just keep it simple), I decided to embark on my first foray into reduction printing. I’m so pleased that I did because it has really reflected the layering that you see when looking at rocks and pebbles. It’s also really good fun!

Because of the personal reason for choosing the subject matter, I have connected with this project more than any other work that I have completed before, It has been an opportunity to learn about myself, experiment and do what makes me feel good. I’m not searching for others to tell me of it’s any good because I’m so in love with the process that that doesn’t really matter. Yes I’d love the prints to sell and exhibiting the collection would be incredible but what’s more important is that I have deepened my connection to my practise and learned a lot about my style and my Why.

I print because I love it. I print because it soothes me. I print because I NEED it.

I visit the sea because I love it. I visit the sea because it soothes me. I visit the sea because I NEED to.

The Seaside Treasures Collection is due for release end of July 2021
For the full collection, see www.thepeacockandtheprintmaker.com

LORNA BENT ART

Wed, 14 Jul 2021 13:17:26 GMT

LORNA BENT ART
MANCHESTER, UNITED KINGDOM

About the Artist:

Lorna began painting at an early age, and at the age of 17 attended a UK college and studied Art & Design; from there she grew passionate for life drawing and developed her painting skills and loose style, before studying photography.

Lorna’s noire style embraces life paintings, landscapes and large murals and cites photographer Helmut Newton as a source of inspiration, with her work previously exhibited in galleries across the UK including Leeds, Manchester & Liverpool.

During the pandemic in March, and after a long period of over 20 years of not painting, Lorna decided to pick up her brushes once again and began to create a series of life drawings and paintings which she displayed on social media. Within weeks she had been commissioned to produce a number of pieces for all kinds of personal and commercial use.

Amazingly, Lorna works from her home bathroom – which she converted into a studio over the last year.

Her work includes large scale murals.

Instagram: @Lorna_Bent_Art

Facebook: @LornaBentArt

REPUDIATE

About the Painting: Repudiate (M: Refuse to Accept, Reject)

The piece represents her hidden feelings and fears that she doesn’t want to face. Everyday struggles. Through the water she appears on top but within she is sinking. The fast pace of modern life is heading her way (depicted by the train). Does she hide, does she sink, or does she face her fears?

Techniques & Media: Working mainly with Acrylic Paint using a number of different techniques such as Splattering, Dry Brush & Detailing to create the unique style.

Paints: Winsor & Newton Galeria Acrylic Paint

Colours: Titanium White, Lamp Black, Windsor Blue, Deep Turquoise Canvas: Winsor & Newton 100% Oxford Cotton, 480gsm

Dimensions (mm): 1300 x 995

Technique: The artist has used a dry brush technique to create the strong edges showing light form. Not conforming to one technique, washed acrylics have been used on the outside of the piece to defuse areas and to create a perception of voyeurism

Lavender Fields

Sun, 11 Jul 2021 12:37:58 GMT

Lavender Fields’ series

These latest paintings in a “Lavender Fields’ series" are debuted in the Summer exhibition “In Full Bloom” at Lichtundfire in Manhattan, NYC. In these paintings artist Vian Borchert's aim was to create artwork that evoke the feelings of happiness and rejuvenation achieved through the love for nature and its abundant beauty and endless bounty that it bestows upon humanity. In these works, V. Borchert delved into the color purple with all its hues. The lavender color has been especially meaningful to her during COVID times since Borchert took on interest in gardening during quarantine by planting lavender in her garden since the plant has aroma-therapeutic benefits along with being a source of relaxation in stressful times. V. Borchert has always been an avid lover of nature. The lavender smell and sight bring back sweet memories of good times along with a sense of calmness and peace. Also, the artist's aim was to have a birds eye view of the fields as if she was flying above them. Consequently, Borchert's intention to bring forth the airy quality through the theme and the light hues is to create a lightness not only for the visual senses but for absorbing the flight-like quality of these works. Moreover, the artwork’s titles of paintings on view such as “Lavender Fields Forever” and “Imagine Lavender Fields” allude to the feel-good songs by The Beatles and John Lennon who Borchert admires greatly.

To learn more about the artist, visit:

Shortlisted, ArtGeminiPrize

Fri, 18 Jun 2021 12:10:00 GMT

Shortlisted, ArtGeminiPrize

The King's Lodging landscape series is an epic tale told only in contemporary fine art images. Each work and its
title suggests an event, but the viewer is invited to construct the narrative that explains it. "After the Battle" is one
of the boldest images in the series, with its blood red sky dissipating to reveal a rich, textured tomorrow. The
interpretations are infinite, and there is no right or wrong. One-of-a-kind giclee.

Discover more here: https://www.singulart.com/en/artist/alice-gur-arie-24559 and search The King's Lodging.

Mantel of Night - From the King's Lodging Series

Thu, 04 Mar 2021 13:16:43 GMT

Mantel of Night - From the King's Lodging Series

"A visit to an old hunting lodge atop a mountain in Portugal inspired me to create a familiar yet otherworldly landscape series, and give life to a mythical kingdom of archetypal characters. Evocative titles suggesting events or describing a situation create a themed context for a narrative told only in contemporary art images. I set the scene, and invite viewers to explore that world, and complete the story for themselves. Photographed in Portugal and repainted by hand." ©Alice Gur-Arie. All rights reserved

Discover more visit - https://blackheathartsociety.org.uk/exhibitions/blackheath-art-society-exhibition/blackheathartsociety.org.uk/exhibitions/blackheath-art-society-exhibition/

"Winter" at Emerge Contemporary

Tue, 22 Dec 2020 13:12:27 GMT

"Winter" at Emerge Contemporary

I had always wanted to paint a series of layered hills, and found my inspiration on a photoshoot in Portugal. Late on a
December afternoon I drove up a long, narrow, winding road. When I arrived at the top a spectacular vista unfolded
around me. I imagined a narrative, and started to photograph. But only when I repainted the pictures, did the story take shape in my mind. The colour palette ranges from saturated jewel colours to shadowy earth tones, textured greys,
and soft but gloomy winter whites.

Portraits for NHS Heroes inspired by Thomas Croft in Artist Talk Magazine

grantmilne@artisttalkmagazine.com (Grant Milne) — Sat, 08 Aug 2020 20:40:46 GMT

Portraits for NHS Heroes inspired by Thomas Croft in Artist Talk Magazine

My name is Grant Milne the founder of Artist Talk Magazine.

July 2019, I decided I wanted to spend more time painting portraits, along with developing a technique that would speed up the process. Prior to this, on average I was painting 1 - 2 portraits a year, which would take me approximately 12 months to complete each portrait. I therefore, decided to challenge myself to complete 26 portraits within a year. I decided to complete 26 A - Z portraits of famous faces, giving myself 6 hours to complete a portrait. The rules being I would split each portrait into three sessions of two hours duration, which would give me enough time to allow the oil to dry between layers.

In March 2020 the UK Government announced a lock down due to Covid-19. During this time I did continue to paint the A - Z portraits of famous faces, becoming aware, via National Media of #portraitsfornhsheroes This concept was created by the portrait artist Thomas Croft. The criteria being, if you are an artist and would like to offer a free portrait to an NHS key worker, then you post a green canvas from Tom’s Instagram @tomcroftartist on your social media. This including the hashtag #portraitsfornhsheroes, then triggers the opportunity for an NHS worker to be able to search for the hashtag, see your offer and contact you directly to apply for a free portrait. Similarly, if you are an NHS front line worker and would like to put yourself forward for the chance to get a free portrait, please look out for the green canvas, by searching for the hashtag #portraitsfornhsheroes and message the artist.

I thought this was a fantastic idea however, initially at the time I did not feel comfortable participating, due to the fact I was not confident I could complete the portrait or that anyone would want one. I decided therefore, to just continue the A - Z portraits. During this time I also had to make the decision to cancel the April 2020 issue of Artist Talk Magazine and hopefully, commercially make this issue available in July 2020. This was a difficult decision to make, as I knew the featured artists would have been excited to showcase the fantastic work they produce.

Three months went by and on the 4th June 2020 I finally decided I wanted to offer a portrait to an NHS Hero and be a part of the #portraitsfornhsheroes. At the time I was painting the famous faces portraits and I felt that my time would be better spent painting the true Heroes I therefore, posted the green square on my Instagram not knowing what to expect. I felt honored to have NHS key workers saying they would love to have a portrait, furthermore they all had incredible stories to share, so I decided I would complete three portraits. At this time I made up my mind to stop the A - Z portraits and focus on painting the three #portraitsfornhsheroes of Hannah Milne, Jessie Jeff and Cassandra Wright.

I was also working on making sure the July 2020 issue was ready to be published, at this point the cover had not been confirmed. Originally I wanted a major Art Gallery to be the focus but I felt with Covid-19 and the restrictions being imposed, now was not the best time.

I completed all three portraits and was personally pleased with the results. I asked Hannah Milne, Jessie Jeff and Cassandra Wright if they would be interested in sharing their stories and experience of Covid-19, they were all happy to do this and were delighted with the prospect of it. The cover had not been decided, so I thought #portraitsfornhsheroes would be the perfect tribute. I initially considered just one portrait being on the cover, but I thought it would be fantastic to include more, in order to symbolize how everyone has worked together to support and trying our best to get through this horrendous pandemic. So I made the decision to contact Thomas Croft, saying how I would love to include his portrait and 16 others on the cover, luckily Tom was happy to support the idea and sent me all the fantastic images.

Thursday 30th July 2020 issue 12 was finally commercially available. I was pleased to showcase more incredible artists from around the globe. All of the artists featured within this issue have given interesting, in-depth and honest accounts about themselves, their work, views and ideas. In addition to the amazing images of the work they produce. All the featured artists can be viewed here - www.artisttalkmagazine.com/featuredartists we are featuring the following; Portraits for NHS Heroes, NATALIA COLA, PAULO AMSEL, PETE REY, PORSCHE, SHANNON MCKEOGH, MARY STEFANOU, K11 MUSEA, MAYA BECK, CHOI WOO-YEUL and CHRISTINA WALSH

The cover of this issue is 20 portraits for our NHS Heroes. This concept was created by the portrait artist Thomas Croft. If you are an artist and would like to offer a free portrait to an NHS key worker, then please post the green canvas from Tom’s Instagram @tomcroftartist on your social media, which includes the hashtag #portraitsfornhsheroes. Then an NHS worker can search for the hashtag, see your offer and contact you directly to apply for a free portrait.

You can view the magazine at www.artisttalkmagazine.com

The feedback was really positive and it was amazing to see how many people have been involved #portraitsfornhsheroes Tom has really done a fantastic job in inspiring the nation. Furthermore, seeing the positivity from the NHS heroes has been amazing to see.

Just before the magazine was commercially available, I felt I wanted to give even more exposure to #portraitsfornhsheroes, I also wanted Hannah Milne, Jessie Jeff and Cassandra Wright to get something positive from the experience. I had this idea of wanting to showcase the portraits on Piccadilly Lights. The Piccadilly Circus is a large advertisement that is a famous feature of central London since 1908, when they hosted the first Perrier advertisement which was created with lightbulbs. Since then, the logos of many household names have been up in lights and the vista has featured in numerous films and TV programmes. Over the years, the technology has evolved too – from simple light bulbs to neon signs in the 1920s, then to digital projectors in the 1990s and on to LEDs in 2011. In collaboration with Ocean Outdoor, we curate public experiences throughout the year at Piccadilly Lights, including our annual pride celebrations.

On reflection I am not sure why I was that confident to email them. In the email I talked about the magazine, about the articles and experience of Hannah Milne, Jessie Jeff and Cassandra Wright and also the 20 #portraitsfornhsheroes on the cover. Amazingly Derek Manns from Landsec did email me back, saying what a great initiative and one they would consider. They amazingly donated 10 minutes of screen time, which had been originally for the NHS, at 8pm each Thursday, as a #lightitblue beacon. I would personally like to say thank you to Derek for firstly responding to my email, but giving me the chance and opportunity.

At this point I once again had to contact Hannah Milne, Jessie Jeff and Cassandra Wright and Thomas Croft. Saying I have this really fantastic opportunity to showcase the portraits on Piccadilly Lights. They all said yes. So working with Landsec, Ocean Outdoor and Make it Blue UK, I designed the copy for Piccadilly Lights. This involved 5 slides, first slide showing in full Thomas Croft portrait of Harriet, then my three portraits on separate slides. With the final slide showcasing all 20 portraits from the cover. Each slide would last two minutes and the full video would be 10 minutes. My friend James Hazeldine from Kudegra Productions put together the video format, adding the transitions between each slide. This was then sent to Ocean Outdoor who made this final export and helped make sure this would be displayed perfectly on Piccadilly Lights. I would like to say a massive Thank you to Pati and David.

I then had the final confirmation that on Thursday 6th August 2020 at 8pm I would be displaying on Piccadilly Lights. Saying Thank You NHS Heroes and showcasing all 20 #portraitsfornhsheroes. We then made the announcement live saying we would show this on Instagram Live, so everyone involved would be able to watch this. At this point I felt the pressure.

Thursday 6th August 2020, 8pm came and I could not believe it was being displayed on Piccadilly Lights. Saying Thank You NHS Heroes and showcasing all 20 #portraitsfornhsheroes, for me this was a brilliant tribute and showed how collaborating with one another we can achieve some amazing results.

Piccadilly Lights Video, Thursday 6th August 2020

A couple of days have now past and I decided to write how this all happened. I am truly honoured to have had the amazing opportunity to showcase all 20 #portraitsfornhsheroes inspired by Thomas Croft, which was featured on the July 2020 cover and shown on Piccadilly Lights

Thank you to everyone involved

Thank you NHS Heroes

Thank you Hannah, Jessie and Cassandra for letting me paint your portrait and providing an incredible article for the readers of Artist Talk.

Thank you to Landsec Group, Ocean Outdoor and Make it Blue UK for supporting this campaign, without you this would not be possible

Thank you Thomas Croft for creating and inspiring everyone with your #portraitsfornhsheroes

Thank you everyone who has completed the #portraitsfornhsheroes and thank you to the 16 artists that featured on the cover

Thank you James Hazeldine from Kudegra Productions

Thank you to everyone that has contributed an article to Artist Talk and our new Artist Talk Members. It was an honour to include all the featured articles of issue 12 on the Piccadilly Lights

About Landsec - www.landsec.com

We buy, develop, manage and sell high-quality office, retail and leisure space in London and vibrant regional locations.

About Ocean Outdoor - www.oceanoutdoor.com

Ocean are a facilitator of digital connectivity in the OOH world. We practise “The Art of Outdoor®” by creating inspirational new experiences for today’s aspirational brands.

The Art of Outdoor® is a single minded focus on desirable audiences and locations using the latest technology,
research and data – all wrapped in innovative creative executions. These are the elements that are core to Ocean’s
values and commitment to our clients.

About Make it Blue - www.makeitblue.uk

We began with #LightItBlue – a campaign that prompted hundreds of landmarks and iconic buildings around the world to illuminate blue as a gesture of gratitude to all healthcare heroes and key workers.

With #MakeItBlue we’re inviting people everywhere to get creative and showcase their talents. We’ve galvanized communities across six continents to turn the internet blue with videos, images and messages of hope and positivity.

And now we’ve formed MAKEITBLUE CIC – a community interest company dedicated to raising funds for mental health charities. As live event professionals, our mission is to support industry colleagues in need, while promoting mental health awareness through arts, entertainment and cultural projects.

HANNAH MILNE

I am Hannah Milne aged 31 (soon to be 32). I am married to Paul who is a Planning Officer and Mum to Max 7 and Frankie 5. We live in a pretty village called Barrowby in Lincolnshire. I work 30 hours a week as a Staff Nurse on the Acute Care Unit at Grantham and District Hospital, along with 6 hours a week as Service Improvement Lead Nurse for the Mid Trent Critical Care Network. I am very lucky to have parents, grandparents and in laws living in very close proximity, a grandfather in Devon and younger sisters in London and Madrid.

The following is how I came to be in my profession. My maternal grandmother received excellent care in a hospice when I was younger, the nurses care and kind words made a lasting impact on my mum’s memories. This led me to want to be in a career where I could make a difference to people in their times of need.

My A-Level choices were therefore, chosen with a nursing career in mind, biology, psychology and sociology. I then applied to study nursing at Sheffield Hallam University in 2006 and qualified 11 years ago, beginning my career at Lincoln County Hospital and later transferring to Grantham.

We have been very lucky in Lincolnshire that COVID 19 levels have been low compared to other less rural areas, Grantham being especially low. There have been a number of times we have been redeployed to The Pilgrim Hospital in Boston, where numbers were higher and there were staff shortages, due to quite high numbers of staff showing symptoms. Unfortunately a member of nursing staff at Boston died from COVID 19 after being ventilated and treated on ICU. My experience of COVID 19 being a time of great sadness and anxiety within the United Lincolnshire Hospital Trust, but especially at The Pilgrim Hospital. I have worked in a number of areas where patients displaying COVID 19 symptoms were admitted, thankfully with relatively low numbers having positive swab results. Assisting in intubating a patient has probably been the most nerve wrecking experience, as this is when contamination risk is highest. It is quite a weight on your shoulders to try and do all you can for a patient, whilst trying to keep all patients, your colleagues and yourself safe by following strict infection control procedures at all times.

The experiences that I would like to share are those of providing the best end of life care for patients during this time, which has felt more emotional than ever. Limiting the amount of time that family can see their relative before they pass away, has felt like such a cruel thing to do. Work as a nurse during COVID 19 has often felt like a battle between what is scientifically the right thing to do, in terms of reducing risk of infection and considering how patients, relatives and staff are being affected psychologically.

Delivering care, compassion and communication with patients is challenged by COVID 19. Hands have to be held through gloves, patients can’t see staff smile at them behind masks, reassuring words have to be spoken much more clearly. Admission rates have been lower than normal and the patients that have eventually attended, have been much more unwell that we would usually see before they seek help. Most of all I hope that patients know we are doing all we can to keep them safe and don’t risk their lives trying to avoid attending hospital.

Before COVID 19: To relax when I was not working I would take the boys to football three times a week, swimming and beavers. Socialise with family, friends and colleagues. Spend time with grandparents. Drink cocktails, take city breaks, shopping and camping.

During COVID 19: Reading, bike rides, walking, watching Netflix, painting garden fences, standing in queues outside Aldi, delivering food shopping, pretending to be on holiday in the garden, haircutting, playing family football matches, toasting marshmallows, building dens, quizzing on zoom, drinking red wine, cooking and now visiting family in the garden /on driveways.

The affect that working with COVID 19 patients has personally had on me, is that it has felt like an ongoing battle of head over heart. Between wanting to give patients as much of your time in close proximity as they need, without over exposing yourself to the risk of infection. Guilt that you can’t allow relatives to visit. Huge guilt and frustration that some treatment options that would normally have been available to offer to patients, haven’t been available during this time due to high infection risks.

The saying “There is always light at the end of the rainbow” what would you like to see
there?............ I would like to see a sense of normality. Patients not being too scared to come into hospital, that they are putting off getting help when very unwell, their relatives being able to visit and have the reassurance of being able to see their loved ones. Normal services resume at Grantham Hospital, staff deployed back to their usual places of work and us being able to deliver the level of service we previously have. Less worry about bringing COVID 19 home to my children and being able to hug my parents and grandparents

JESSIE JEFF

My Name is Jessie Jeff and I am 28 years old, I live in Dorset where I have lived all my life.

I was born in Dorchester however, in recent years have moved to West Parley, where I have bought a house with my partner Andy, my mother Alice and Chris, who is like a father to me, as my own father has never really bothered with me.

I also live with my lovely dogs who always keep me very busy. I live local to Andy’s family who are also like my family. Rosemary who is the amazing Grandmother, Neil jane, Tom, Kelly and my little niece Olivia. I was also very close with DAA, who was like a grandfather to me but unfortunately, he passed away a short time ago. My other family Simon, Sam and their children also keep in touch and still remain in Dorchester.

How did I get into the profession:-

I have always worked in the health care industry since the age of 16. I started in the kitchens washing up and worked my way up into the nursing roles, knowing I wanted to be a paramedic however, it being very difficult to get into. I used to care for my grandad Sam Benham, who I was very fond of and I feel the care he required, caused me to then have an interest into the caring role and this is where becoming a paramedic came to mind.

The experience with Covid 19 has been very challenging, upsetting and above these feelings, very rewarding. As Paramedics we have to have a calm, level headed approach, so as to relax the very scared, anxious and worried patients.

The wearing of the PPE has also been a great challenge, the sore nose and ears and feeling like you cannot breathe properly takes its toll on you however, with your colleagues support you get through, along with support from your family and friends.

The worst experience I had, was when I had to move out of my home into a hotel, which was very lonely. The reason being for this, was due to my relatives being high risk with medical conditions.

Not being able to sit with them at night, or after work and speak with them was most challenging. This being especially after some very sad jobs, where people were dying and suffering was at its peak. Again, it was also very challenging not seeing Andy’s nan Rosemary, who is also like a nan to me too. Not being able to see one another and do the things in life that we all take for granted, such as hugging and visiting each other is a painful, emotional and personal challenge of its own.

When I am not working, I do enjoy spending my time with family and my dogs. Andy and I also spend a large amount of time with Andy’s brother Tom, partner Kelly and niece Olivia which I enjoy, also going on bike rides. My mother and I also spend a lot of time together and have a big enjoyment in spending, which does not help the wallet! Andy and I are also working on our house, which is very much nearing the end, allowing us to do the things we want to do in life, including marriage.

I think mentally Covid 19 has affected almost everyone and it has also been very tiring and challenging. The wearing of PPE along with the wearing of surgical face masks that make your throat sore has been difficult however, with other colleagues you manage to find different coping mechanisms.
I would like to see things go back to normal, which I am sure if we follow government advice and stick to the rules, we will overcome this.

It has been a challenge however, there are still other challenges we need to overcome away from Covid 19. An example of this, being when myself and a crew mate were assaulted by four people. This was an unprovoked attack, where both myself and a crew mate were injured during the pandemic. This therefore, was also very hard to cope with as well as Covid 19. I am however, sure we will beat these challenges in the way that we always do!

I would like to take this opportunity to thank you for this chance and space to be able to share some of the emotions, feelings and thoughts that I have so far endured and hope the readers of Artist Talk Magazine will enjoy!

Thanks Jessie

CASSANDRA WRIGHT

My name is Cassandra Wright. I am a staff nurse and work in the theatre department of St John’s hospital Livingston. I have been a nurse since 2012. I have worked in many jobs within the medical and surgical side of healthcare . My role consists of being a scrub nurse and an anaesthetic nurse. This means I either assist the surgeon while he is operating or I assist the anaesthetist while you are going off to sleep.

I got into becoming a nurse through my own hero, My Mum. My mum got into nursing from her Mother and she from her Nanna. My mother started university as I just started high school, just to set the scene she had 4 children aged between 2 and 14, she worked really hard and graduated with a merit. I am really proud to be a nurse and carry on the family tradition. I am such a people person, I love to talk to people and I have found that the smallest things like a smile and conversation can ease a patient’s worries and that is what they remember. Although my patients are sleeping for most of the operations, I really enjoy talking to them before hand and helping ease their nerves before they have their procedure.

My experience of covid 19 will be very different from most. I was actually on maternity leave and I wasn’t due to go back to work until the end of July. I really struggled not being able to help my colleagues and felt really guilty. My family and friends kept repeating a phrase that didn’t sit well with me “I am so glad YOUR not at work”. I know that I am precious to my family and friends and they just want you to be safe however, my friends and colleagues are special to me and I wanted to help. When I returned to work I felt like I had started a completely new job everything was totally unrecognisable, the only thing that was in the same place was the changing rooms. Every day was different as guidance changed. Certain things felt very alien to me but you just have to learn to adapt. The support from my colleagues helped me through this uncertain time and I am so glad that I work with such a lovely bunch.

I think your readers should know that the nurses really felt the support of the public during the pandemic. We do have very difficult jobs and have to face death, illness, loss on a daily basis however, we do get great job satisfaction especially when things go well. It is nice to feel appreciated, health is wealth at the end of the day.

When I am not working I spend time with my family, which includes my wee baby boy. He takes up most of my time. We have really enjoyed our walks and exploring all the beautiful countryside that surround where we live. We are very lucky to live in beautiful Scotland and have access to some of the most beautiful scenery in the world. This time has made me appreciate where I live.

As a theatre nurse I am used to wearing full PPE however, its very intense wearing full RPE. You have to have trust in your mask and that you have put it on correctly. I have had my skin breakdown on my nose. We also have shortages in PPE at times and can feel stressful thinking you might not be able to work and help your colleagues. I always shower before I leave work, it’s a horrible feeling that you might be taking something home to your family.

At the end of the tunnel I would like to see a wage rise LOL. I hope that people realise how hard we work and that we try are very best every day.

On behalf of the readers and myself, I would like to thank all NHS and key workers for all the good you have done and keep on doing

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