Chandle Lee was born and raised in the culturally and ethnically diverse country of Malaysia. He grew-up speaking four Chinese dialects, the official language of Malay, and English. Chandle came to the US as a foreign student after he finished high school, obtained a BS degree in Architecture from Arizona State University and then a Masters degree in Architecture from the University of Michigan. He first started working as a processional architect in the San Francisco Bay Area and then New York and has been working as a professional architect for almost twenty years. He has also worked as an architect in Shanghai and China. Besides a practicing architectural he has also taught architectural design at the Academy of Art in San Francisco. For several years he has been dividing his time and energy between architecture and his fine art creations.
"Ever since I was a child, growing up in Malaysia, the practice of art always came naturally to me and it is that practice that created the way for me to study and to become a very successful architect. Now it is the architectural practice that has lead me beck into the fine art arena. It is the architectural requirements of precision and my worldly experiences that have and continue to influence my fine art creations, drawings, paintings, and sculptures."
My photographic and artistic style has many influences but is best inspired by the impressionists who utilized optical blending techniques like pointillism. The French fauves with their bold colors and the 20th century Japanese woodblock print artists who were adept at juxtaposing colored regions have also been influential. In terms of subject matter my focus is on cityscape and landscape scenes. I have been creating digital photo art for the past four years. This body of work is an offshoot of my prior work pastel landscape painting.
Some of my other digital creations include geometric pattern art. These are software creations that explore the intersection between art and mathematics. I like to explore novel combinations of basic shape elements like lines, circles and polygons arranged in a mosaic fashion. Themes explored in this work are the juxtaposition of order with randomness or of the natural versus the manufactured.
Dragan Simic was born in Serbia, former Yugoslavia, and has resided in Australia since 1984. His creative approach is influenced by the works of Matisse, Modigliani and Picasso, as well as Australian Aboriginal art.
Dragan says about his work: “My new rules are color and color is wonderful”. His unique layered colorful style is reminiscent of landscapes and mindscapes. By fusing and overlapping abstract patterns with Australian aboriginal motifs, the artist creates a vibrant mesmerizing topography. His playful juxtaposition of color and line creates dynamically animated abstractions that are in constant motion.
Dragan has traveled extensively in Europe and Australia and has gathered inspiration from landscapes, cultures, flora and fauna he has encountered on his journeys.
Sirenes is a Norwegian artist living and working outside of Oslo, Norway. Her style can best be described as Lyrical Abstractionism that comprises elements of Color Field and Abstract Expressionism with the sensibility of Impressionism.
Ever since she can remember Sirenes has always been fascinated with color. Everything she encounters in every day life: colorful flowers, blossoming trees, patterns on fabrics, and colorful packages on store shelves. Every little detail becomes a source of artistic inspiration and encourages further explorations into the alluring and magical world of color.
Sirenes paints from her heart by expressing her deepest feelings, emotions and her relationship with the people and the world surrounding her. Her sensitivity translates into lyrical compositions reminiscent of music. The New York based Art Critic Wilson Wong wrote,
"Sirenes conveys an even more elusive subject by virtue of her mastery of chromatic dynamics as vibrant and yet gentle as the music of Ravel."
My art is the visible and physical evidence that I produce in response to my accumulated observations of natural objects. For me, they are the only indisputable source of design, color, form and function. I randomly combine unrelated objects in my memory that have made an impression on me. The imagery then develops spontaneously from a rapidly formed foundation that I use to depict my own abstract reality. The composition grows from a continuous flow of line into form, defined by light, shade and color. The speed at the beginning of the work is balanced by the deliberate precision at the end.
During the work, it is rare that I am aware of the subject that I am transferring from my subconscious to the surface at hand. It is at the end that the meaning is revealed to me, and regardless of the image, its primary goal is to express to your world who I am.
Fandino's work is intuitive, showing layers of emotion and delicate forms. It is also ambiguous and poetic inviting the viewer to pause and contemplate the flow of imagination in a peaceful landscape. In this new body of work "Beyond Skies and Waters" Water represents a symbol of movement, where everything is shifting all the time and nothing remains permanent; Sky is also a symbol of transformations in life, cyclical changes. By defining just a few elements (passages, boats, stairs) Fandino unveils us a serene place of beauty and harmony beyond space and time.
Luz Fandino is a Colombian born artist currently residing in Brazil. She holds a degree in Visual Arts and postgraduate work in French philosophy. She also worked at the Smithsonian Institution in iconography research in the 90 s where she developed herself as an artist. She has shown extensively in Latin America, Europe and the US.
Dorothy Krakauer was born on the Indian Nations Reservations at Columbia Falls, Montana. Her unique background instilled in her an extensive knowledge and great love of nature, which she has come to express through her artwork. Each rendition, whether in pencil, oils, pastels or watercolors is characterized by personal experience with her subject. Intimacy and movement are achieved by careful brush and pencil strokes, color choice and diverse reflection of light. Her technique enables her to portray the individual character of each subject.
Dorothy's world travels have allowed her to paint, sketch and photograph subjects on location in Asia, Europe, Canada, South America, Turkey and the United States. While living in Tokyo from 1966 to 1967, Dorothy studied oil painting with Shunjiro Nakamura, a Japanese Living National Treasure. And while living in Izmir, Turkey, Dorothy created an original oil painting of Saint Francis of Assisi in the sanctuary of the then 101-year-old Cathedral of Saint John the Evangelist. The painting was designated a National Art Treasure of Turkey.
Robert Labor Jean Marie (signed LABOR) was born on 13 May 1937. He is a visual and multidisciplinary artist.
He received a degree in Design and Fine Arts from the Academy of Fine Arts, and a degree in Art Teaching from Claude Bernard Paris (now Universities ARTS). He is a working artist and been teaching art for over 30 years as Professor of Fine Arts.
“ PAINTING is actually my MAIN TOPIC.”
“Since 1970s, I have experimented with figure, abstraction, conceptual art ... with the same interest ... I am always looking for a line to paint. I am seeking the immaterial and the inner mystery, the “How” and the “Why” of the subject matter, the sensations and the forms...”
“I work with many subjects, many mediums, I switch back and forth... I am seeking to bring some sense of time into my work... My work contains much reflection, my feelings, my desires... I reinvent the styles, and shapes, and materials; I take the content and place it into a new perception of current reality.”
“About me, I would like to say what Picasso had said earlier:
"It is the painting that commands me."
Oklahoma native, Kelli Stretesky is an abstract artist living and working in New York City. She earned her BFA from New York University Tisch School of the Arts and has been involved with community projects, founding Art for Hospitals+ to enhance health through the visual arts and color therapy. When not painting, Kelli can be found working with people in the film and television industry, specifically Asbury Shorts New York, who has hosted her work during premiers. Kelli's early work, created at the young age of 8, was publicized as the national winner of a competition for a statewide campaign, "Don't Lay that Trash on Oklahoma" and was recognized by the First Lady for her contribution. Her first solo public exhibition was as a featured artist in the New York Public Library which commenced showings at Jawbox and G2 in NYC, Studio 107 in Oklahoma and others in Brooklyn and Manhattan.
Kelli's work is evolving, with bold color, depth and movement. Her paintings range from small to large, with something for everyone whether her Georgia O'Keefe-like flowers to the collectible, and often muted, but highly texturized Color Blocks series. Her recognizable style is depicted mostly in her unique and daring abstracts that set her apart from any other artist.
Marina Reiter was born in Moscow, Russia surrounded by art books and national museums on classical realism and impressionism. Under the shadow of her uncle Nikolay Solomin, one of Russia’s most celebrated living painters, and Sr. Nikolay Solomin apprentice to the founders of Russian historical realism: Valentin Serov, Ilya Repin and Vasily Surikov. At a very early age Marina turned from her realist heritage to find her liberty and voice as an abstract painter.
“My work is primarily influenced by my studies of culture, language and calligraphy in Beijing, China during the early 90’s and two major art movements: Fauvism in the early 20th century and the Washington Color School movement that started in 1950’s. Working with color, symbolic abstract shapes and line point me to something familiar and to an almost recognizable language like music. The harmonies and juxtapositions weave themselves through me forming a large symphony of a painters abstract voice.”
Elaine Weiner-Reed’s art focuses on unraveling the color and mystery of human emotions and behavior as experienced through her heart, mind, senses, and personal filters: as a woman, a mother, and a friend. Her creative process integrates the internal and external, the eternal and ephemeral connections that support and shape her. It is about the individual and the solitary…mingling and existing within a group dynamic or setting. Her paintings are rich with emotion and character, conveying life in all its colors, improvisations, vibrancy, and undercurrents. Sometimes a work is gritty and raw, sometimes pure or soft. Some paintings are more painful and take longer to create than others. Each begins with an idea. Weiner-Reed never rushes a painting and never creates for any other goal than her genuine need to create. She wants her work to retain and exhibit a painterly quality and never be so finished or sophisticated that it no longer shows evidence of the artist’s hand in the process.
Alternatively described as an Abstract Expressionist, Colorist, and Action Painter, Weiner-Reed acknowledges each as being correct: she is constantly evolving. Her works have been compared to the works of Pollack, De Kooning, Delancey, and De Niro Sr. While admittedly pleased at such comparisons, Weiner-Reed steadfastly continues to push herself and each medium to the limit, remaining true to her voice and abstract vision. Not only does it allow her to explore multiple creative threads, but it also allows her paintings to mature, cure, or dry. In this way, creativity is channeled and flows in a constant state as she starts on new paintings, while taking others to the next level.
I love the infinite possibilities of painting and the exploration of ideas and color relationships. I want my work to engender an emotional response and a sense of engagement. I like to be challenged and I love the process of painting which I sometimes make apparent by leaving visible layers of paint and marks. Hopefully, the viewer is aware of the texture of the paint and the power of the artists brush on the canvas. I abstract and simplify forms and interpret color. I am interested in creating paintings that are not ordinary.
Of late I have been particularly interested in exploring the possibilities of non-objective paintings that have no reference to the natural world. The motifs come form my imagination and I work with the space within the canvas applying color, interesting lines and shapes in order to create s new and satisfying whole. I am interested in layering the paint and letting the layers underneath become part of the work. I work in a progressive series, letting each painting lead to the next.
Jeannette Canale works with mixed media using oil and acrylic paint. Her work focuses on the expression of pure energy and light that creates order and brings harmony to our space. Jeannette has a distinct signature style that can be described as precise and meticulous. She likes to use bold juicy colors combined with different textures and materials, such as semiprecious stones and Swarovski crystals. Jeannette is recognized for her mandala paintings, in which the Nature, Cosmos, and the ancient symbols of oneness are presented with a modern interpretation.
Mats intuitively works with color, movement and music to achieve his harmonious abstract compositions. His mediums of choice are oil, acrylic and mixed-media onto canvases. Nature in the south of Sweden and Mats favorite music help create a certain feeling, special mood and movement in his creative process.
"When I step into the right feeling, it is like everything is turned off and the painting just floats away with me. Each artwork is an amazing journey of both relaxation and exhaustion."
“My aim is to create abstract paintings with lots of shapes, depth, feeling, color, joy, and light. The viewer is able to find their own interpretation in all of my artworks.”'
Simon Cruz is a young Mexican artist born in Guadalajara. His fantastic imagery is deeply rooted in the culture and folklore of his country, yet he presents it to us in a unique and passionate language that is truly his own. Simon likes to experiment with materials and techniques, take risks and push the envelope.
His visual narrative is extremely layered. The images on his canvases are overlapping and weaving through each other, as if multiple realities are daring to take shape in the same space and time. Simon uses bold colors and outlines to create the visual tension and irony. Some of his shapes and figures are very detailed and meticulously rendered, while others are barely outlined presenting only a hint of a shape or an idea. In many of his works he uses text as an extra layer that exists on the same plane with the visuals. His figures are full of passion and many a time caught in some predicament. Memories of the past. Things to come in the future. The present reality. All of it merges together on Simon’s canvases.
Simon has participated in over 60 exhibitions in Mexico and the Unites States. He likes to work in various media and brilliantly demonstrates his craftsmanship in oil painting, bronze sculpture and ink drawing.
Labor Robert (signed LABOR) was born on 13 May 1937… is a visual and multidisciplinary artist.
He received a degree in Design and Fine Arts from the Academy of Fine Arts, and a degree in Art Teaching from Claude Bernard PARIS (now Universities ARTS). He is a working artist and been teaching art for over 30 years as Professor of Fine Arts.
“ PAINTING is actually my MAIN TOPIC.”
“Since 1970s , I have experimented with figure, abstraction, conceptual art ... with the same interest ... I am always looking for a line to paint. I am seeking the immaterial and the inner mystery.. the “How” and the “Why” of the subject matter, the sensations and the forms...”
“I work with many subjects, many mediums, I switch back and forth... I am seeking to bring some sense of time into my work... My work contains much reflection, my feelings, my desires... I reinvented and styles and shapes and materials, I take the content and place it into a new perception of current reality.”
“ About me, I would like to say what Picasso had said earlier: "It is the painting that commands me.”
”My artwork has saved my life, it is that simple”
Vhilio was born in Sweden in 1972 and was only 5 years old when he had his first alcoholic drink and got drunk drinking champagne. Friday 13, 2003 is the day that changed Vhilio’s life forever when he realized that he was a danger to himself and checked himself into a rehab center for 9 months.
During his rehab Vhilio kept thinking about a day in 1997 when he was so drunk, that he jumped out of the window of his 3rd floor apartment building because someone was screaming “Fire!”. That fall almost killed him and after that fall Vhilio started painting his paintings that have made him famous around the world.
Vhilio had his last alcoholic drinks when he was 30 years old when he was drinking moonshine on a bench in a public park while he was homeless.
In the spring of 2004, Vhilio was diagnosed with cancer his third time and the doctors had to remove his shoulder blade. After this surgery he had to paint with a pallet knife because the pain from the surgery was too painful and he could not hold a paintbrush in his hand. By 2008 Vhilio was finally able to go back to painting with a paintbrush.
Vhilio paints memories, things that have happened to him in his old life before he stopped drinking and sometimes about what he experiences today. He likes to use a lot of humor in his paintings. His work is exhibited and collected around the world. He has created over 1000 artworks.
“I don’t paint the obvious, I hide it within each painting.”
Kaya Deckelbaum is a figurative sculptor from New York, whose art is a reflection of her Bulgarian, Israeli and Canadian heritage. Kaya’s preferred medium is wire-mesh.
This medium yields to her fingers and allows her to create sculptures of faces and figures that transmit a deep imagination for the viewer’s interpretation.
Her sculptures often cast vivid shadows that add a fourth dimension to her art. One really looks at two works, the sculpture itself and a riveting image behind.
Kaya has exhibited in many galleries in North America and her work is part of the permanent collection of the Hecht Museum in Israel.
Floyd Atkins lives and works in Chicago, Illinois. He has been painting, drawing, and using various forms of mixed media for many years. Floyd is a former art educator in the Chicago Public School system where he proudly brought the creative process to our youth. A graduate of Clark University with a degree in Fine Art, Atkins studied under the renowned artist John Riddle. He also studied at the High Museum of Art in Atlanta and the Art Institute of Chicago, where he lectured on Art History in the early eighties. Several city government agencies, as well as private collectors such as master collector Paul Jones have purchased his works. For their students to study art the Chinese Government publishes Atkins work in a “How To Book”. He was nominated for the 2003 Joan Mitchell's Painters and Sculptors Grant. In 2004, Atkins was one of eleven artists from the United States invited to the 8th annual Summer Summit in Poetovio, Slovenia
The German art scene has witnessed its demise through the war within the mono-centric view. Also the rest of Europe developed rather poly-centric art worlds with loose contacts between artists, who due to their urban fragmentation and not least because of lack of capital never were able to trigger trends at the European or the international art market. At the end of the seventies art theory foresaw the end of all painting-art for the linear appreciation of art. But painting-art wasn't dead. It kept on reinventing itself. Dogmatics followed and invented the 'new' cyclical instead of the linear appreciation of art. Neo Rauch was ascribed to the neosurrealists, Romero Britto to the neo-pop-art – so their art was "new" again.
This supposed rebirth of painting was a lesson, teaching us that dogmatics of painting at the first art market is strongly oriented to financial interests. The requirements of curriculum vitae, novelty, authenticity, rejection of the decorative aspect are intended as guarantee for stability of value and rarity. To give you the possibility to check the value of your investment exchange-like organisations were created. The artprice-agency determines the value of artists in the form of 'stock charts', to make it easier for institutional and private collectors, curators, museums etc., to issue an exceptionally valuable portfolio. But it was overlooked that in doing so the determinism was further aggravated, because the artist's work is now even more restricted by market pressures.
For the first time at the beginning of the new century (2005) in London the question is raised, whether deterministic attributes of modern painting must be fundamentally reconsidered. In 2009 the Frankfurter Allgemeine Zeitung published a report about the Transition Gallery in London, and their new appreciation of art under the heading: 'we need more dilettantes'. In this case the scandal is not intended to create a better saleability. The scandal is the challenge of a centenarian doctrine. The scandal negates the first art market. The anti-deterministic artist is allowed to paint
With every peace of art, corresponding with the above mentioned characteristics, the artists turns against the dictate of the ruling dogmatics. He is pursuing art policy by intentionally ignoring the quality requirements of the first art market and thus he regains absolute artistic freedom.
Diane Ponder is a painter and digital photographer. Her work has been displayed locally at Navy Pier, Grant Park, and Oak Park; nationally at The Rockford Gallery in Rockford, Maine, the Art Center in Orinda, California and the New York Art Expo, and internationally, at the first abstract art show in Jeddah Saudi Arabia where she was the only woman artist. Diane’s work has also been featured in the Oak Park Wednesday Journal and the Chicago Tribune. Diane was featured in a PBS documentary of an art series benefiting Sarah’s Inn, a women’s shelter, and has been artist in residence with the Art House, an artist’s cooperative. She currently resides in Chicago, IL.
Guillaume is born on the 12th of June 1948 at Hardinxveld the Netherlands as Willem Lodewijk den Dunnen. Guillaume received his education in the 70’s at the Art Academy Vredeman de Vries, Leeuwarden the Netherlands. As a surrealist painter Guillaume has created his own distinctive style. His works are both unique in their imagery as in their technique. The images are the result of imagination, coincidence, experimentation, arising directly from the sub consciousness and are painted in a combination of oil and ink on pure paperboard. His works are collected both abroad as well as in his home country the Netherlands. Guillaume has just been selected and confirmed to take part in the second Biennale of Palermo in January 2015. As well as a two week exhibition in the art gallery 'Artist Club Casa di Dante" in Florence in February 2015. As stated by Stig Åke Stålnacke member AICA;” To meet your world of images, Mr.Guillaume, is like taking a journey into the depths of the soul and the boundlessness of fantasy. It is such journeys into the unknown that make life worthwhile, worth living.”
“Nature has always been an inspiration to me especially the sea. I love the colors, reflections and continuously changing light. Most of my paintings have a water theme in them along with some studies including birds, flowers, and boats. Some works in stone have an organic feel that looks sensuous and touchable. I like to work with form, positive and negative spaces while hinting at something that sparks the imagination as familiar.”
“A successfully finished piece of artwork to me is when my vision comes to life from what most people amazingly see as just a rough stone, a blank canvas or a piece of paper. I am consistently looking for new material, techniques and ideas to express myself in my work and to bring new challenges in every piece of work. I enjoy many mediums but, the one that enables me to express my most natural visual communication is stone. Its colors, textures, and dimensionality, convey life as beautiful, sensuous, organic and timeless.”
“My art is an amalgamation of work and life over recent years. The work itself reflects inspiration and innovation from an enthusiastic attitude I walk with through my life. The work utilizes a process both intellectual and technical moving from literal representation toward abstraction. Usually texture serves as the foundation for a painting or series. Within this foundation I begin to feel a focal point from which abstracted image and form emerges. The paintings are created slowly, built up over weeks texture upon texture, evolving into multi-colored, multi-layered and muti-dimensional works. The texture begins with the feelings I am experiencing at that moment. Then I fill the canvas with color implied by my emotions. I apply the paint with brushes, sticks, cloth or my hands, painting, sanding, scratching, scraping splattering and spraying until the painting is born.
What is abstract art? For me it is the expression of ideas, emotion, time and space which are born in the heart and mind of the artist rather than the physical world, then through the hands of the artist given birth into the physical world.”
Since 1985, the Blackboard Series has been the predominant form of John O’Connor’s art. This series grew out of the work he produced in the early 1970s. During that time the impulse that led to the Blackboard Series was largely undeveloped and unrecognizable. Art has a peculiar way of telling an artist something that they may not understand for many years.
The Blackboard Series imagery originated from John’s classroom experiences as a student and then as an artist-teacher. In 1963 John became interested in the idea of how natural processes could contribute to the making a artwork. The Blackboard Series are created by using these kinds of processes. The process of erasing and moving borders becomes a history lesson: a history of the creating itself. Wiping out and covering up images or messages goes far beyond the creative processes its self. This process raises significant questions: "What is covered up? Why? What is missing?"
In his Blackboard Series O’Connor invites the viewer to question the nature of reality itself. All of his blackboards are formed by using acrylic paints on wood board or Sintra. There are no collages in this work. However, John highly admires the trompe l’oeil masters of the past and believes that his own work has evolved primarily as a result of the influences found in the works of William T. Wiley, Jasper Johns, and particularly Marcel Duchamp.
I take an improvisational approach to my paintings in order to choreograph a vocabulary of free expressional abstract shapes and movements. I search for the heroic notions in all recurring shapes and movements of nature’s design and the ongoing man made evolving environment. I try to reinterpret these notions by using my own Artistic and Architectural fictional narratives. Each work is an interpretation of a new notion of a spatial design with accidental free forming shapes and ambiguous landscapes. The goal is to tell a story of a new notion, new visual possibilities and a new narrative of expressions.
“When you see my paintings, first look with your eyes. Then with your heart. What is essential there to you? When you look at a painting with your heart, does it make you feel something? My role as an artist is to cast light on that which is essential and so easily forgotten in the everyday. As I have come to know it, my work is most broadly interested in the conversation between translucent form and colorful texture; between the provocative forms and the result of imaginative dreams.”
“Painting has always been my most vibrant passion. Please find attached images of my most recent work as a representation of my achievement and enjoyment as a painter. I am so excited to share this work with the arts community, my friends, and those who might discover it for the very first time.”
Platon H. was born in Paris in 1950. He comes from a three generations artistic family and was brought up in French and Greek cultural and intellectual milieus. In the circles where his parents (an architect and an archaeologist) moved in, he grew up among artists of different nationalities who were living and working in Paris and Athens between 1950 and 1970. All these people surrounded Platon H. from an early age with their ideas and creativity, shaping his personality and art. Without him realizing it at the time, they were his teachers along with his father who taught him how to ‘use his hands’ and made him familiar with construction and building materials. As a regular visitor to the French Archaeological School in Greece he became familiar with ancient walls assemblage, mosaics, floors and with aesthetics in general.
Using timeless organic media. Platon H. directs our attention to natural materials that we usually take for granted and pass by without noticing. In this way he creates a strong link between the past and the present, giving life to “nature morte” not by trying to imitate Nature, but by revealing its contemporary abstract aspects in it.
“Seeing and acknowledging 'Color' is a theme I have referred to many times in the past. Almost every decision we make can be affected by color. We may not even be aware of its power dictating the clothes we select, the food we eat and the tableware on which we serve that food. The rooms we sit in, the choices in fabrics, rugs and walls, etc. So much of it is unconscious that one might be surprised just how much our psychological selves are manipulated by color. I am inviting the viewer to absorb the essence of color.”
“You will notice adhered plexi sheets on some of my work. This is less as a form of protection and more as a metaphor for my belief that nature is precious and should be revered.”
“While others might describe me as a Contemporary Abstract Expressionist, I see myself as an artist whose influences span many different movements; Abstract, Modern, Fauvist, Post-modern and Pop Art. I am perhaps 10% conceptualist but a formalist at heart. I am a Colorist who has undeniably been seduced by the Fauvist ideals and forms. Presently, I am studying the relationship between architectural design, art and the female form.
Nature, everyday objects, daily events and personal stories are all metaphors that converge in my creative mind. Sorting through these thoughts and images, with many a path of heavy paint on a canvas, is a fascinating and rewarding process. My hope is that my art takes people on an unexpected journey, where one can look at the everyday situations in an unexpected way; where perceived space is filled with shapes, color and interest.”
“Art makes my life magical—with a pencil or paintbrush in my hand, all is well. Art is the connection between my soul and the world.”
“I love the sensitivity of the most simple of tools, the pencil. I can spend hours upon hours drawing. The process pulls me in and I become spellbound by the textures, forms, light and shade of my favorite subjects. My subjects are varied—people, animals, medieval towns, flowers and landscapes—I love it all.”
“I am equally captivated by the world of color. Years back, I discovered I had a severe allergy to turpentine. As a result, I have explored many different painting media. I have found that the most enchanting to me of all are watercolors, which is the focus my most recent work.”
“My pencil and sketchbook come with me everywhere—as does my compact watercolor set. Sketching is the lifeline to my art—the smallest sketch will bring back a memory and mood in a way that no photograph can. It is when I am sketching that I find the inspiration of an idea to further develop in the studio.”
“My husband and I currently live in Central Italy. Both the natural beauty and the incredible art history of Tuscany and Umbria are a constant inspiration to me. Every day I count my blessings of not only what I do, but also where I do it.”
Photographer and graphic designer, Jade (Giada) Paolini was born in Cattolica in 1986. After graduating from school in linguistics, she has taken courses in Professional Photography and Event Marketing Manager. Her studies took her to explore many international cities, including Barcelona, ondon and Berlin.
“The shots of Paolini are arising from the motion of the soul and instinct. The main distinctive common denominator being self-portraiture. Her self-portraits have a strong emotional impact.
Through the images of her body, her hands and her face stimulate deep inner reflection and introspection. These images communicate to us freely without barriers. Her work is a complete artistic performance starting from the make-up she chooses, to picking her costumes, carefully selecting the scenery, the background, the location itself. Giada’s work is a spiritual journey that guides us in its existential experiences. Her work carries a message of positivity and optimism, and the inner strength to stubbornly fight and overcoming any obstacles and difficulties” - Milan Today.
Donna Lomangino is a nationally recognized artist and designer whose varied body of work uses seemingly representational imagery to convey the abstractions of isolation and alienation. Paintings that at first appear to be seascapes or still life interiors are rather portraits of emptiness and silent disconnect. And portraits of disarmingly unfamiliar faces are rather “scapes” of the space between observer and observed, as subjects peer out from within their own far-removed reality. Lomangino’s “CinemaScope” series is inspired by portentous and dramatic moments in film. Two other Lomangino series include her penetrating portraits of high achievers —“Special” — that convey the spark and essence that set these individuals apart from the beginning, and lighthearted re-portraits of historical figures, titled “Juxtapositions.” Whether executed in acrylics or oils, on board or on canvas, Lomangino’s paintings are characterized by deceptively concise brushstrokes. Behind all is a provocative intellect that transforms accessible, identifiable forms into unexpected studies of existence.
Lomangino’s work has been exhibited in New York, Miami and the Mid-Atlantic region, including the Washington, D.C., area where she first established her career. Her paintings are found in the private collections of patrons residing in Florida, Maryland, New Jersey, New York, Rhode Island, Virginia, Washington, DC and Paris, France.
Ebru, also known as paper marbling, is one of the most important Turkish arts which can be defined as painting on water and transferring this painting onto paper.
Born in 1971 in Istanbul, Ebru Uygun graduated from Finishing School and Webster University of Geneva. Ebru Uygun stands out with her modern vision of this traditional Turkish art by introducing a 3D element into her work and transferring her art on wood, tile, cloth, and other mixed media. “The harmonious dance of the colors reflects my wonderland!” says Uygun, “It’s a world where evil has no place. It’s pure and clear. When I’m marbling, I discover new worlds… It’s a joy.”
Ebru Uygun is very dedicated to her charitable work. In 1994 she founded a charity for children with socio-economical difficulties in order for them to get education - TOÇEV. Uygun is the author of “Room 102” (2005), “Hearts I’ve Touched” (2006), “Growing Up Together” (2009), “Heart River” (2013), and has contributed with her ebru work to “Karma Exhibition” organized by The Association of Artists and Art Lovers (SSD) in 2008, to the “Exhibition for Somalian Children” organized by Silivri Rotary Club and SSD in 2011 and to “Hand in Hand Exhibition” organized by SSD in association with TOÇEV in 2011.
In the Humanless series, artist Muge Bilgin focuses on the conflict between “the system” and “mankind” set against the backdrop of city environment. The result is a tragic dehumanization of the “mankind’s”, objectification and complete elimination of “one self”.
The city epitomizes concentration of power; it is the center of consumption that puts “mankind” on a perpetual conveyer belt. We constantly consume and are being consumed. We are being reduced to a mere function or an object.
The tragedy of the situation is that we ourselves have legitimized this “system”. The society that we have created demands concentration of power to supervise “mankind”, it is a machine that feeds on consumption to create more consumption. The consciousness of alienation and objectification is what dominates our society. In order to function, “the system” demands total surrender of humankind.
Neelkanti Patekar, is a ceramic sculptor from Mumbai, India. A ‘Self Taught’ one. Sculpting comes very natural to her. Touching clay gives her immense satisfaction. She likes to work on Concepts, Expressions, Thoughts. Many of her sculptures touch upon social and political issues that we face in our modern day society, i.e. war, poverty, aging. Neelkanti uses the art of sculpting to express emotions, things we all feel and experience. It’s part of being human to feel joy, sadness, distress, relationship tensions. These are the things that we all experience and therefore can relate to on so many different levels.
Awards: 2015 Prafulla Dahanukar Art Foundation award for her work ‘WAR HUNGER’
Through her art, artist McGivern aims to create an explosion of energy, to generate an electric shock to the senses. Experiencing one of her paintings is to awaken the uninhibited child-like freedom that is within us all, a freedom that before now, has been lying dormant.
Navigating the fine line between a world that is the familiar and recognizable and one that is brighter and more beautiful, McGivern takes her viewers through an emotional journey that is uplifting and energizing. Viewers are encouraged to explore each piece through their individual experiences and unique eyes, to create their own narrative.
Communication takes place beyond the obvious and space is experienced, not passing us by as time would want us to believe. When we realize this, we are left with an uncanny affinity to what was at first a totally alien environment. The space between the painter, the painting and the viewer is now diminished by the harmony of the image, allowing the viewer to make the experience completely their own.
Brigitte Messali is a mosaist artist. Born in the south of France, she moved to the USA in 2001 and is currently residing in the Middle East. She studied the mosaic technics (from traditional to the more modern) at the University Saint Joseph in Beirut, Lebanon.
She has exhibited in Artomatic in Virginia (USA) in June 2012, Galleria Pall Mall in London, March 2015 and many more.
“A major part of my work is to translate in mosaic some famous painters like Klimt, or Van Gogh, or artists from Middle East. I also create my own originals designs getting my inspiration from pieces of linen, carpets, china, combining shapes and colors to create a world full of colors, texture, scent and music. I use mainly glass tiles tesserae, gold, gold based glass tiles, mirrors, but also marble, stone, broken china and Murano millefiori. My work can be used everywhere to decorate your house or office on any surface, be it walls or floors. The most important is that EACH PIECE IN UNIQUE.”
Brigitte also creates mosaic sculptures and functional design pieces like shoes, masks, plates, furniture…
She works with a lot of commission, custom work.
“I believe that art needs to reflect and challenge the changes within all societies, and attempt an insightful approach of challenge to avoid sinking into complacency and banality.
My specific interest lies in the interactive play of an individual’s psyche within a personal or group dialogue; The 'truer' personal nature of such an individual is often hidden behind a bland mask of social etiquette; With this concept in mind, my work is not labeled or titled; so allowing the observer a greater and freer interpretation of my work without any preconceived ideas.”
The current body of work has developed over the past six years. The progress of these paintings has, in some ways, been from images with more activity to those of greater simplicity. However, even in the newer work with its bold shapes and brighter colors, the intent is to create complex visual situations that will engage the viewer.
Part of the change in the more recent work is that it is all on canvas, rather than paper. Painting involves acrylic color and glazes, applied with brushes, the artist’s hands and rags, and spraying water onto the painted surface. That surface, whether smoother or rougher, wet or dry, effects the brush strokes that are applied to it.
The paintings tend to always have a top and a bottom, like alandscape. Nature has been a constant source for the work, even though there are no references to specific scenes, or events, or memories. The paintings ask the viewer to find their own path to move visually through forms and space. This is a continual process that can create both a sense of involvement and a questioning of our relationship to the pictorial experience. For each viewer, the painting will be different, depending on the personal connection he or she brings to them.
“I find great sustenance in the mother ship and all her elements. Coming from a classical and avant-garde theatre arts background I carry with me the proscenium to composite new worlds with my beloved and always surprising creature friends. As much as I am painting/composing with movements and sounds, the works have a life of their own and I try to stay out of the way”.
Lucy Nell Stewart was born in Northern California in autumn of 1960. From 1973-1976 she attended American Ballet Theater scholarship summers in New York City. Returning to California she finished high school then danced professionally with a handful of ballet companies; Houston Ballet, San Francisco Opera Ballet, Garden State Ballet, and Dayton Ballet.
In 1979 through the mid 1980’s she created and performed her own performance art works in New York City as well studied clowning at “If Every Fool”. She headed back to California to for theater and film projects where her first one-woman show emerged in the early 1990’s in Los Angeles.
Back to New York City mid 1990’s to create her second show and her theatrical pursuits led to an interest in filmmaking.
She attended a handful of Super 8 and 16mm classes at Millennium with Ross McLaren and then migrated to video on her own to create these works.
She has been making art her entire life and now resides in Pennsylvania near the Delaware River.
As a social realist painter, Hilary’s past series and body of work explores the nuances of contemporary youth and the spectrum of issues surrounding their growth and transformation into adulthood. Her focus is on rural youth, and the ramifications and the cycles of limitations of locality, privilege versus reality, and cultural degradation, loss, perseverance, and recovery.
“My work explores the relationships between supposedly ordinary experiences of life and the ethereal beauty of these moments that sits just below the visual surface of everyday living -- the spiritual core and essence of living life that is universal -- love, peace, happiness, joy, truth, pain, sadness, loss, fear, and anger. For me, painting is a way to use color, texture, and form to create a visually stimulating image. I also explore the range of possibilities allowed through color choice, composition, method of application, surface preparation, etc. I don't seek to push my personal beliefs onto the audience, rather I encourage them to connect with a common interest, such as a shared nostalgia or stirred memory. I draw inspiration from groups like The Impressionists, the early abstract expressionists, the Fauves.”Hilary is also an avid en plein air painter, and maintains a blog, “Field’s End Art” of smaller figurative and landscape paintings done on location of her travels, both locally and abroad.