Inside Artists - Issue 19 by Inside Artists

Contemporary Artists & Exhibitions

Issue 19 spring/summer 2021

GOODWOOD RACECOURSE Selhurst Park Road | Chichester | PO18 0PS

** COMING SOON ** Spring/Summer 2021 For dates visit: www.sussexartfairs.co.uk

100 Exhibiting Artists | Galleries | Collectives 1000’s of artworks for sale from £50 - £5,000

sussexartfairs.co.uk | #sussexartfairs

With lockdown continuing across the UK and around the world, galleries have remained closed and their usual visitors staying at home. During this time it’s inspiring to see artists finding new ways to bring their work to the viewer; whether through print publications such as Inside Artists, creating online digital exhibitions and sharing more work on social media platforms or finding new spaces for exhibiting, such as using the windows of homes and studios to display artworks to passers-by. This unusual situation has allowed us to think about how art is experienced, and how the space in which it’s viewed can affect its impact. A digital exhibition might not suit all work; many pieces need to be seen and felt in person. The nuances and textures of a painting or sculpture can be lost through a screen, and to have large-scale pieces reduced to the size of an electronic device would be doing the work a dis-service. It’s also true however, that a whitewall gallery setting can have an equally negative impact on other works, and this period of gallery and exhibition closures has seen some artists flourish creatively away from the expected channels of the art world.

EDITORS Kieran Austin Toby Oliver Dean COVER IMAGE By Les Jones Here’s Why digital collage and acrylic 2020, 59 x 42 cm PROOF READER Daisy Francome FOLLOW US InsideArtists InsideArtists InsideArtists ONLINE insideartists.co.uk ENQUIRIES info@insideartists.co.uk +44 (0)1273 649 724 Inside Artists is a registered trademark. All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publishers. The magazine can assume no responsibility for unsolicited manuscripts, photographs or illustrations.

"‘‘Here’s Why’ is a digital composition that uses elements from a number of physical collages that I’ve produced recently. It’s part of a series of images that I’ve created by using the same process. I’ve discovered that my physical collages provide a wide palette of graphic elements, typography and textures that I can use to push the digital collages in new directions." Les Jones

E x h i b itions 06 Sussex Art Fairs

I nterviews 08 Les Jones 40 Pia Kintrup

76 Poggio Di Poggio

A rtist profiles 16 20 22 24 28 32 36 38 46 50 52 56

Karen Hutton Robert Frankel Terry Beard Sam Haynes Newel Hunter M’esco Gary Phillips Hanna Gasanova Gosia Kryk Nexumorphic Rui Sha Eve Ozer

60 62 64 68 80 86 88 90 92 96 98

Chan Suk On Sherine Nazmy Emanuele Ravagnani George Rowbottom Paolo Lazzarotti Pen’Ny Lou Patrou Ernesto Ibáñez Lynn Keddie Ivan Klem Ben Bell

A rtist e x h i b itions 102 Upcoming artist exhibitions

Fraser Renton

Heather Irvine

S usse x A rt F airs Goodwood Racecourse, Chichester UK For event dates see: sussexartfairs.co.uk After a successful inaugural year in 2019, Sussex Art Fairs returns to the world renowned Goodwood Racecourse in the heart of the picturesque Sussex Downs. 2019’s event was the first of its kind within the counties, cementing itself into the region’s art calendar with its high quality selection of work from local, national and international artists. Taking place across three days, over 100 artists will be situated throughout the two main halls of The March Stand, with thousands of pieces for sale. In the first hall galleries and collectives are found, while the Independent Artists Halls present over 80 up and coming local and national established artists, each of whom you will be able to meet over the weekend. The fair is the largest of its kind 06

within the Sussex counties, and a welcoming environment for both new and seasoned collectors. With artworks suitable for all budgets – prices start from as little as £50 for prints and smaller works, to over £5,000 for outstanding masterpieces – and tastes, it’s the perfect opportunity to find the perfect piece for your home or collection, and discover your new favourite artist at the same time. Purchases will be packed by specialist wrapping team artPAKK, an eco-friendly alternative to bubble wrap. Once again the fair is collaborating with Sussex Wildlife Trust, with the proceeds of special original artworks from exhibitors going to the conservation charity.

Sussex Fine Artists

Tricia Moss

Emily Faludy Fine Art

Sussex Art Fairs kicks off with a Friday Private View, giving visitors the opportunity to view exhibitor’s collections before the event opens to the general public, browsing the artworks with a glass of wine. Continuing over the weekend, alongside the artworks visitors can enjoy a bar and full café restaurant serving tea’s, coffee’s and food throughout Saturday

tickets can be purchased in advance online, where exhibitor details can also be seen. sussexartfairs.co.uk

and Sunday. Weekend and Private View 07

L es J ones Multidisciplinary artist Les Jones allows chance to play a role within his work, using street photography and collage to capture snapshots of the world around him. Driven by emotion and feeling or the mood of the day, some pieces are calm and ordered, while others are more abstract in composition. His process with collage especially is intuitive and unplanned, allowing himself to get lost within the tactile nature of the medium and embrace the unexpected outcomes. As the artist’s technique with the medium has developed, the scale of the artworks has begun to grow; with new materials such as reclaimed advertising hoardings and packaging boxes being incorporated into the collages. Originally from Wales, Jones is now based in Shropshire in the UK, working as a 08

Creative Director alongside his personal art practice. In 2011 he launched a one-man independent magazine, Elisie, which features design, typography, photography, stories and ‘found stuff’. This year will see the magazine relaunched as an online digital publication. Tell us about your journey as an artist, what led you to your current medium? My journey as an artist is really confined to the last twelve years. Having done my degree in photography back in the early eighties, I spent most of my career in a commercial environment, firstly as a studio photographer and then setting up and running my own design and marketing agencies. For many years I didn’t produce any personal work at all. Then about twelve years ago, I started to get the itch to produce work on my terms, not within the confines of a client brief. So, I picked up my camera again and started

Good Ideas, collage and acrylic, 2020, 59 x 42 cm

& Art , collage and acrylic, 2020, 59 x 42 cm

Space, collage and acrylic, 2020, 59 x 42 cm

doing a lot of street photography. After a year or two, I produced a lot of work and I was thinking about what I could do with it. I decided to utilise my design and writing skills from my agency work and I launched my own, one-man magazine called ‘Elsie’ (it’s called Elsie because my middle name is Colin!)

new work and explore different mediums. It’s also taught me a lot about life and creativity.

I’d never produced a magazine before and I had very low expectations - but, very quickly, it took on a life of its own and started to take me to places I wouldn’t previously have thought possible. In the year it was launched, the prestigious publication ‘The New York Library Journal’ voted in one of the top ten new magazines in the world and it also featured in an exhibition of independent magazines at MoMA in New York. I’ve kept the magazine going alongside my commercial work for the last few years - it’s a hungry beast for content, and it drives me to get out there and produce 10

What’s your process for selecting collage elements; do you tend to create an artwork around an image or do pieces get added as the artwork evolves? I collect materials for my work all the time - I buy or find old books and magazines and I collect cardboard boxes and other packaging from local shops. I’ve also started looking out for advertising hoardings that are peeling or falling away and I stop and pick up some of that material as well. When I get to producing the pieces, the process is very intuitive and unplanned - I enjoy the journey and I’m always fascinated by what the final destination will be - both in terms of image and composition and also in what meanings or interpretations are thrown

Looking Ahead, collage and acrylic, 2020, 42 x 29 cm

The Wonder of Speed , collage and acrylic, 2020, 59 x 42 cm

Try, Try Again , collage and acrylic, 2020, 42 x 29 cm

up. The process is all about decision-making in the moment - what goes, what stays, what gets covered or altered. The great thing about collage is, it’s quite forgiving, if you make the wrong decision you have the opportunity to retrieve the situation and move things in a different direction.

job’ - I work as a creative director which takes in graphic design and typography. As such, I’m interested in the interplay of words and images, which comes through in a lot in my collage work. However, the collage work allows me to be much freer and more expressive than when I’m doing design in a commercial context.

I enjoy the whole experience and can lose myself for hours - just me, my music and the very tactile creative process. Do you find that your two mediums - collage and photography - inform each other, or do you tend to keep the two practices separate? I tend to keep the collage and photography separate, however, on a subconscious level, I’m sure my photography (which I’ve been doing for far longer) informs my decisionmaking in terms of composition. I’m probably more influenced by the work I do in my ‘day 12

The Covid pandemic and lockdown has had a big impact on the arts as a whole, have you found your work has been affected over the last year? Massively - and in a very positive way. At the start of the first lockdown in the UK, I had a great sense that we were living through a unique moment in history and that I should, as an artist, do something to capture this moment. So, I started three projects. Firstly, I decided to create a daily collage about the crisis. This was my first venture into ‘analogue’

World open your heart, collage and acrylic, 2020, 42 x 29 cm

The Persuasiveness of Quality, collage and acrylic, 2020, 29 x 21 cm

To Life, collage and acrylic, 2020, 42 x 29 cm

collage, as opposed to the digital work I’d previously done. I bought newspapers each day and used them as the material to capture the daily developments in the pandemic. I did this for the first three months of lockdown and now have over 100 collages that document that period. Secondly, I decided to do a photographic project and I produced a series of portraits of people in lockdown in my village, all taken from a social distance - I also asked those people to capture their thoughts and feelings about the situation in handwritten words. And lastly, I decided to produce a weekly, digital version of my magazine, to give people a positive dose of creativity at the end of each week.

It was the Covid-19 collages that sparked my interest in collage as a medium and I’ve since moved away from the pandemic-based pieces to exploring the medium on a wider, more personal level.

So, the lockdown was the trigger for a big surge in creativity, which kept me very busy and definitely helped me to process and cope with the situation more effectively. 14

Do you have new work in progress? Are there any upcoming exhibitions planned? I’m producing a lot of collage work at the moment. However, based on the success of the weekly digital magazines I produced at the start of the first Lockdown, I’ve decided to re-launch Elsie as a monthly online magazine. This will allow me to explore many more avenues and themes and meet many more creative people. I’m very excited about this new direction. I’ve never exhibited any of my art or photography - I’m not sure why, the opportunity has never presented itself. My

Us, digital collage, 2020, 59 x 42 cm

ultimate goal would be to have an ‘Elsie Magazine’ exhibition - I think the eclectic and diverse nature of the content would make for a very stimulating, engaging and entertaining experience. lesjonesart.co.uk les@outsidethesquare.co.uk

Peach Sorbet, giclee print, 2013, 40 x 60 cm

K aren Hutton The camera has been a constant companion throughout Karen Hutton’s life, comparable to the brush of a painter. It is the tool to capturing the vision of her soul, where light and nature are the medium. Drawn to light both visually and on a spiritual level, the photographer’s travels have seen her capturing many variations and perspectives of luminescence, whether in sweeping, epic scenes or up close and intimate. In her images taken in forests, fields, coastlines and cities, surfaces of buildings glow red and golden, bright beams emerge through the translucent edges of leaves and flowers, and the surfaces of lakes and seas sparkle with reflected fragments. Even in her darkest shots the light 16

remains; hidden in shadows and moody skies, or replaced artificially in streetlights. The colours of the world come alive in Hutton’s photographs, which are filled with the vibrant, rich and lush tones of nature. Meanwhile, her monochromatic images speak to the imagination of the viewer, through its poetic interpretation of reality. Also working in paint alongside her photography, it is the artist’s deepest hope to create work embedded with the same feeling of awe we experience in wild nature. karenhuttonphotography.com karen@karenhutton.com

Alight With Delight, giclee print, 2014, 90 x 60 cm

Castle Ship Of Stone, giclee print, 2019, 85 x 125 cm

Ice Logged, giclee print, 2020, 80 x 125 cm

River Of A Dream, giclee print, 2011, 90 x 60 cm

Adventures in Geometry #9, acrylic on canvas, 2020, 61 x 61 cm

R o b ert F rankel Immediately striking the viewer with their bright, bold contrasting colours, Robert Frankel’s paintings are expressions of pure abstraction; joyfully playing with shapes, patterns and textures. The architectures within his work are built from experimentation and improvisation; the adding and subtracting of colours and textures, capturing the tensions between form and chromaticity. In contrast to the bright pigments and unexpected configurations that fill his canvases, the sources of inspiration for the artist’s paintings are surprisingly mundane; found in the patterns of cracks in the street, the textures of peeling bark on trees and formations of sprinkles on doughnut icing. 20

These everyday motifs are heightened, rearranged and re-imagined into paintings with no rules or guidelines, just pure emotion, energy, and a feeling of bliss which transfers from brush to viewer. Frankel is a self-taught artist, and has spent over twenty years exploring painting and wood sculpting. Based in Chicago, USA, Recently his work has been shown across the US, as well as galleries in Portugal and Italy, and the Pall Mall Gallery, London, for the Royal Arts Prize. robertfrankelart.com rfrankel@bluestonechicago.com

Farbe ist Alles #15, acrylic on canvas, 2020, 61 x 61 cm

Landlines I, mixed media, 2020, 80 x80 cm

T err y Beard With a studio surrounded by a varied landscape of natural and built environments, Terry Beard is supplied with an unending source of inspiration for her work. Using abstract marks and gestures, blocks of colours and lines, the nearby farmland, woodland and protected fenland offer endless possibilities for visual interpretation. The artist’s striking compositions are built up using screen printing methods which see her using a small squeegee in the same way as a brush, pulling layers of colour through a screen. Newsprint is often used in the works, 22

sometimes acting as a temporary stencil to create lines and textures, at other times as a material; printed on directly and collaged onto the canvas. Beard’s work has been exhibited widely, in the UK as well as in the USA and Venice, with pieces in numerous private and corporate collections. terrybeardart.com terrybeardartist@gmail.com

Journey, acrylic, 2020, 120 x 60 cm

S am Hay nes

Containing the Uncontainable, photoprint on aluminium dibond, 2020, 50 x 75 cm

Moments of playful tension between opposing materials and found objects are created by Sam Haynes, whose assemblages engage with surprising yet familiar formations while referencing domestic and architectural space.

presenting them in photographic form where the scale of the image is flexible from piece to piece; sometimes interpreted as larger architectural installations, and at other times as smaller, more intimate encounters.

Interacting intuitively with familiar materials which include wood, metal frames and mechanical parts, flexible pipes, soft textiles and feathers, the artist’s process often leads to unexpected outcomes. There is rhythm and balance within her work; dynamic connections between materials and the surrounding space, animated through the use of colour, light and shadow.

Working from her London studio, Haynes has been awarded public art commissions across the UK, exhibiting sculpture at the Hannah Peschar Sculpture Garden and the Southbank’s Royal Festival Hall.

Once the placement of materials is complete she continues to respond to the artwork, 24

sam-haynes.com sam@dazzlehouse.co.uk

Insula, photoprint on aluminium dibond, 2020, 72 x 75 cm

Light Touch, photoprint on aluminium dibond, 2020, 50 x 75 cm

Skeleton Support, photoprint on aluminium dibond, 2020, 50 x 75 cm

Curly Exit, photoprint on aluminium dibond, 2020, 50 x 75 cm

Well Hello, photoprint on aluminium dibond, 2020, 50 x 75 cm

Title, medium, YEAR, H x W cm

Sighseer, acrylic, 2020, 76 x101 cm

N ewel Hunter As an artist with stories to tell, Newel Hunter’s artworks are deep and mysterious, using highly physical gestural marks to create endless possible interpretations. Even at their most abstract his canvases speak to the viewer, replacing words with paint which is scraped and spread into fluid, sculptural compositions; landscapes of love and loss where transitions between light and dark can communicate stories of life and death, of exploration and unrequited passion. The reduction of colour in Hunter’s work intensifies the impact of the application, where each mark upon the canvas leaves a 28

spectral trace; like an exoskeleton waiting for flesh. This can be seen in his ‘Tales of Dark and Light’ collection which feature translucent forms with only hints of substance and colour, dancing upon deep black surfaces in the artist’s unique calligraphic style. Hunter’s artworks are widely represented in collections within and outside the U.S. He has exhibited extensively in regional and national juried shows, and has been featured in major international publications. newelhunterart.com newelhunter@gmail.com

High Flyer, acrylic, 2020, 101 x 76 cm

Interlude, acrylic, 2020, 101 x 76 cm

Letting it Slide, acrylic, 2020, 101 x 76 cm

Narcissus, photography, 2019, 43 x 35 cm

M ’ esco Exploring the relationship between contemporary and fine art photography, M’esco’s images bring the symbolist movement into a modern setting, with painterly compositions rich with visual metaphors of life and death, capitalism and surveillance. The photographer’s ‘Modern Classics’ restages paintings from art history, mirroring the soft lighting and textured fabric backdrops, sometimes with elements of digital collage and visual compositional lines which he layers upon the photograph in contrasts of white and yellow. The images are familiar in both their 32

references to the past, and in the inclusion of contemporary elements. Based in Connecticut in the US, M’esco studied study fine art with a focus in photography at Western Connecticut State University. His work has been exhibited in the USA and Europe, winning The Allard Prize photography competition and Monochrome Award. highbrowblog.com mescophoto@gmail.com

Allegory of Vanitas, photography, 2020, 51 x 38 cm

Strange Fruit, photography, 2020, 51 x 35 cm

Strange Fruit II, photography, 2020, 51 x 35 cm

Urban Fox, oil on canvas, 2019, 100 x 100 cm

G ar y P h illips Before the first brushstrokes of paint are applied, Gary Phillip’s process has begun in the selecting of found objects such as old doors and panels which will become not only his canvas, but part of the painting itself. Shapes that appear in the weathered surfaces – grains and knots, discolorations and natural patterns – inspire him towards a starting point, becoming ripples of water in a lake or solar flares in space where boats and astronauts float, the grand and graceful images contrasting the distressed surface. The artist’s natural comfort with his medium is seen in his applications of paint, where simplified brushstrokes - which may present 36

an obscure emergence of colour and light up close - become full and complex when viewed at a distance; each quick and confident layer joining together to form elegant subjects such as dancers and waves, galloping horses and beautiful figures. Based in Whitstable, UK, Phillips works as a muralist and set painter alongside his own art practice. garyphillips.org.uk biggallery@hotmail.co.uk

Altered states, oil on wooden panel, 2020, 110 x 80 cm

Timeless, acrylic on canvas, 2020, 70 x 61cm

Hanna G asanova Architecture meets decorative art in Hanna Gasanova’s visions of landscapes, buildings and figures, painted with an eye for composition in collage-like formations. Her experience designing houses and residential areas seeps into her fine art works, which feature architectural details and motifs; windows, staircases and archways, perfectly constructed homes and cross-section floorplans of fantasy dwellings. Painting with acrylic, each pigment applied to an artwork is an important decision for the artist who believes that colour, hue and tone has a language of its own; able to communicate to the viewer and speak of mood and feelings, atmosphere, seasons and time. 38

Initially training in architecture, Hanna studied at the University of Azerbaijan in the department of Architecture and Constructions in her home town of Baku, Azerbaijan. Since January 2002 she has been living in Sweden, beginning her career as a full-time visual artist in 2005 with shows in Sweden and internationally, including a group show at the Museum of Contemporary Art Beijing. In 2014, she opened Ateljé Hanna Gasanova where she exhibits her paintings and teaches courses in acrylic painting. ateljehg.se hanna@ateljehg.se

Strongest part of Me, acrylic on canvas, 2020, 70 x 61 cm

Part of the nonexistent areas are of particular interest series, 2021

P ia K intrup For Pia Kintrup the exploration of media and materials is just as important to her work as subject matter, as she investigates transformational processes through photography, sculpture and installation, working with the contradictory relationships of man and object, surface, materiality and artificial structures. As an artist she is particularly informed by settings and constructions which create conflicts within our everyday life, addressing themes such as control and surveillance. Having gained both her BA and MA in Photography Studies and Practice from 40

Folkwang University of Arts in Germany, Kintrup has exhibited worldwide, particularly around Europe as well as Asia, Canada and the USA. Her work has won numerous international prizes, and she is represented by noaddress Gallery, based in Italy and Brazil, and by Townley Gallery based in New York City. Tell us about your journey as an artist, how did you develop your practice? I spent my whole childhood painting hour by hour and explored other creative activities at an early age. I later discovered a fascination with photography - which led to my study of it.

the peak (part of the nonexistent areas are of particular interest series, 2020), C-Print mounted and framed in a black shadow frame, 2020, 100 x 66 cm

the stone (part of the nonexistent areas are of particular interest series), print on aluminum lightbox, 2019, 45 x 60 cm

Looking back, it was the best decision I could have made. During my studies, I took lots of other sculptural and experimental courses as well. Among the fellow students, I have always been a boundary crosser in our photography section.

a photographer, which appeared naturally when I was studying. Now I'm thinking much more out of the box: I'm a visual artist - using photography besides other media. I'm grateful that I've learned to follow my intuition and use it for my practice.

Your approach to photography looks beyond simply capturing an image; can you tell us about your process when using photography as a medium? When I start a new work or researching a topic that stays as a consistent spot in my mind; I'm asking myself whether the characteristics and unique qualities of photography are intriguing and fruitful for the new approach. Earlier I defined myself as

How important is narrative to your work? Is telling a story for the viewer part of your intention? I'd rather understand my work as throwing snippets of an idea and thoughts, instead of telling the only story. I love to play with the viewer's imagination and offer a direction of my intention than creating a wholly defined way. If my work makes the audience deeply reflect on the world, I couldn't ask for anything else.

Angel, installation 6 cherubs, wood, plexiglass & fluorescent tube, 2012, 135 x 120 x 25 cm

Have you found your work affected by the recent global pandemic? Has it changed how you were able to create, or even altered your outlook on your artwork? It certainly changed my working routine as my natural self-constructed workflow got questioned by this global uncertainty. Besides that, cancelled Art Fairs, no physical exhibitions, low sales - we're all dealing with these challenges. Beyond that, my point of view of some older works slightly changed due to the pandemic. My series ‘horror vacui’ speaks volume about emptiness and transformation. I realised that showing empty shells and broken objects make more than ever a metaphor to our actual societies’ states.

Is there a piece or series you're currently working on, or that you're hoping to exhibit? I'm used to working on different projects at the same time for an extended period. Ironically I have more than likely one photographic series and one three dimensional work going on at the same time. It's balance. Currently, I'm working on an installation about the political oppression of Hong Kong. It's a very personal work but at the same time a crucial, global topic. I hope it will finally reach as much audience as possible. piakintrup.com info@piakintrup.com

the loop (part of the nonexistent areas are of particular interest series), print on aluminum lightbox, 2019, 60 x 45 cm

Fuchs / Fox, sculpture on base, plastic, candy wrapper, wood & wire, 2012, 60 x 27 cm

Abstract No 334

G osia K r y k Along her path of self-discovery as an artist, Gosia Kryk realised that her time of studying at the design department of the Academy of Fine Arts in Gdansk was extremely beneficial to her practice. Through implementing her skills into her art, she found that her background in design was perfect; enriching her work and giving a different perspective on art itself, as she strives for narration which is simultaneously simple and beautiful. Kryk’s main focal point is deeply rooted in texture, colour and form. Her work may appear simple and easy to recreate at first; however, each painting is a personal fractal journey. It is a one-way process, layering 46

event upon event. Her idea is to create an amalgamation of applied art and decorative motifs, where applied art is an integral part of the broader picture of our interiors. Based in Hatfield, Hertfordshire in the UK, Kryk’s work has been exhibited widely across the capital, including a solo show at Knapp Gallery, Regents Street, Affordable Art Fair Battersea and at Fulham Palace Art Fair. gosiakryk.co.uk goha@gosiakryk.co.uk

Abstract No 332

Abstract No 336

Abstract No 337

Abstract No 335

Sun, digital painting, 2020, 65 x 51 cm

N e x umorp h ic Digital artist Nexumorphic creates work which explores what it means to be human within our place in the vast expanse of the cosmos. Rather than approaching this with what could easily be a pessimistic viewpoint, he aims to celebrate the willpower, resilience and the collective drive towards a higher ideal we all possess, despite our differing behaviours, ideas and cultures. Nexumorphic’s artworks suggest glimpses of a bigger universe; an alternate dimension of epic proportions which is hinted at through snapshots of scenes and figures, like movie 50

stills or video game screenshots. Although not all of his artworks are linked, there is a definite sense of a narrative which may have taken place away from the final image - events that have created a history of place through destruction and regrowth. While his images may appear as pure fantasy, there is always grounding in reality as he focuses on conveying the various aspects of the human condition. nexumorphic.com nex@nexumorphic.com

Impunity, digital painting, 2020, 46 x 93 cm

Severance, digital painting, 2020, 45 x 90 cm

Occurrence of One Drip wood, thread, copper, cup, Arduino, motors & water 2019, 30 x 30 x 91 cm

R ui S h a Through intimate multimedia compositions, Rui Sha’s work engages with the shift from physical object to incorporeal tenderness, where the constructed frames of her work become carriers of emotional expression; the materials representing an infinite duration across time and space. Sha’s work incorporates multiple artistic disciplines; video, performance, kinetic sculpture and installation. The materiality of the objects – wood, glass, fabric, ink, rope – is erased during the process of crafting, altering functionalities into fragments of moments, a portrayal of a specific time period determined 52

by the artist. For the viewer, simple actions evoke universal emotions as we recognise shared personal experiences; an action, a sound, a feeling. Based in Chicago in the US, Sha holds an MFA degree from the School of Art Institute, Chicago in Art & Technology Studies. ruiisa.com rui.sha@hotmail.com

Occurrence of One Drip (detail view), wood, thread, copper, cup, Arduino, motors & water, 2019, 30 x 30 x 91 cm

Catching the Moonlight, wood, ceramic, water & acrylic, 2019, 96 x 20 x 45 cm

Catching the Moonlight (detail view), wood, ceramic, water & acrylic, 2019, 96 x 20 x 45 cm

Trace, wood, copper, fabric & dye, 2018, 137 x 245 cm

Where I Started, used duvet cover & wood, 2018, 20 x 25 cm

Temptation, analog collage on paper, 2020, 30 x 23 cm

EVE OZER Growing up in a house of intellects - where books were prized possessions lining virtually every wall in their home - Eve Ozer found sanctuary and inspiration between the pages of science fiction novels. These early experiences influence her art today. As a visual storyteller, collage is a perfect narrative expression. She describes her collages as vignettes; quirky, evocative tales told in paper. They symbolize her intrigue with the world of fashion and the contradictions they fabricate in our collective psyche. These pieces are composed of recognizable images and elements re56

imagined into new realities, familiar and un-familiar, simultaneously, creating a visual puzzle for the mind. Ozer works in her studio outside of Chicago. She has exhibited extensively, both in solo and group shows. Her collages and paintings hang in corporate offices in Chicago, private collections throughout the United States, Canada and the United Kingdom. She is represented by Gallery 1871, Chicago, IL. USA. eveozer.com eveozer737@gmail.com

Moon Goddess Visits the Owl Queen, analog collage on paper, 2020, 30 x 23 cm

Candyland, analog collage on paper, 2019, 30 x 23 cm

Song and Dance, analog collage and ink on paper, 2020, 30 x 23 cm

New Arrival Gloves, 2020, colour photography, 70 x 50 cm

New Arrival Socks, 2020, black & white photography, 70 x 50 cm

C h an S uk O n Looking at the passing of time, emotions, the media and consumerism, Chan Suk On’s journey as an artist began with documentary photography, with her practice evolving to include conceptual sculptural artworks. Everyday items that have passed their intended purpose such as out-of-date instruction manuals and packaging labels are re-used and reformed into new configurations with new perspectives. Her latest works come as a direct result of COVID 19 and the need to wear a surgical face mask every day, each one making its way to her from across the world from the US, Japan, Korea or the UK. The sculptures she has created were formed from the stickers and packaging from the 60

masks and alcohol swabs, using translator apps to understand the information. Noticing the imbalance of the global supply and demand, On’s artwork offered a peace of mind to the artist during the pandemic; the sculptures taking the shape of faces, gloves and socks. Having studied Photographic Design, On gained her Masters in Fine Art at the Chinese University of Hong Kong. She has since participated in expos in Hong Kong, Taiwan, Japan, China and United States. httpschansukon.com chansukon@gmail.com

Title, medium, YEAR, H x W cm I Like Alcohol, 2020, colour photography, 70 x 50 cm

Beethoven, acrylic on cardboard paper, 2020, 35 x 25 cm

Athena, acrylic on paper, 2020, 30 x 21 cm

S h erine N azm y With brush and knife, Sherine Nazmy expresses herself upon the canvas, liberating herself from boundaries. As a proudly selftaught artist, her ultimate goal is to spread joy through her paintings. She historically attended an art workshop which cultivated her enthusiasm for art. Having been painting for more than two decades Nazmy found her signature line and began painting unique portraits using a mix of abstract and realism art techniques, with thick slices of paint that see figures and faces slowly emerging through the overlapping of 62

contrasting pigments. She believes that art has no limits, and is a place for complete self- expression. Based in Cairo, Egypt, Nazmy has participated in international group exhibitions and recently exhibited her artwork in the Talented Art Fair, London. Clients have acquired her art from counties across the continents such as the USA, UAE, Bahrain, Egypt and UK. sherinenazmyart@gmail.com

Charming, oil and mixed media on canvas, 2019, 40 x 30 cm

No Title (Harmonic structures), mixed media and collage on canvas, 2020, 73 x 116 cm

E manuele R avagnani Bringing together paint, installation, black and white photography and collage, Emanuele Ravagnani’s work is a union of creative techniques and processes. Amongst the chaos we see evidence of control; numbers, notes and lines formed into schematics of utopian architecture that suggest a thematic approach within the overlap of layers. The lightness of the artworks is punctuated with conflicting elements; the contrasting tones of black drawing out silent stories for the viewer. Originally from Italy and now living and working in France between Paris and 64

Marseille, Ravagnani studied at the Academy of Fine Art in Milan. He has participated in numerous solo and group exhibitions, as well as art fairs in Paris and Italy. His works are held in private collections around the world and he is represented by Galerie Molin Corvo, Paris. emanueleravagnani.com emanuele.ravagnani@gmail.com

No Title, mixed media and collage on wood, 2020, 52 x 46 cm

No Title (Fibonacci series), mixed media and collage on canvas, 2020, 120 x 100 cm

No Title (diptic), mixed media and collage on canvas, 2019, 168 x 207 cm

G eorge R ow b ottom Through an impressive and varied career in the creative industries, George Rowbottom has returned to brush and paint, creating highly saturated assemblages that bring together idiosyncratic elements in collagelike formations. The engaging images feel like a world where anything is possible; a heightened version of the mundane, sitting comfortably side by side with the surreal. Painting mainly with acrylics, each of the artist’s canvases is carefully planned, creating still life set-ups; sourcing the objects and arranging them before photographing the scene and recreating it in paint. Photoshop 68

Clowns, acrylic on canvas, 76 x 101 cm

is also a valuable tool, allowing him to find perfect reference images, creating digital collages to work from. Originally from the UK, Rowbottom migrated to Queensland, Australia, in 2002. In 2019 and 2020 he exhibited with Saatchi’s The Other Art Fair in Melbourne and with SwissArtExpo in Zurich and Miami. Invitations from galleries in London, New York, Milan and Berlin were sadly disrupted by COVID. georgerowbottom.com georgerowbottom@bigpond.com

Truth Is Stranger Than Fiction, acrylic on linen, 91 x 61 cm

Forbidden Fruit, acrylic on canvas, 45 x 61 cm

It's a Matter of Life and Debt, acrylic on canvas, 61 x 101 cm

Smile, acrylic on canvas, 61 x 45 cm

The Pillars Of Wisdom, acrylic on canvas, 101 x 76

Love Never Dies, acrylic on linen, 61 x 91 cm

In The Lap Of The Gods, acrylic on linen, 61 x 91 cm

True Love is Hard to Find, acrylic on linen, 40 x 50 cm

We Come In Peace Bearing Gifts, acrylic on canvas, 45 x 61 cm

The Quest for Eternity, acrylic on birchwood panel, 60 x 60 cm

P oggio D i P oggio Art and spirituality go hand in hand in Poggio Di Poggio’s practice; using meditation to centre his position in the universe, while using his artworks to transmit his knowledge. Having trained in Italy as an artisan decorative painter specialising in frescoes and trompe l’oeil in private homes and public spaces, he gradually began working on his own personal paintings full time, creating mixed media canvases. Layer by layer he experiments with various mediums, creating surfaces which are textured, cracked and burned, referencing his concern for the environment, climate change and the importance of water for life. Based in Brussels, the artist also has a studio in Italy facing the Mediterranean Sea. His work is found in private collections and art foundations in France, Belgium, Switzerland, Italy and The USA. Tell us about your journey as an artist, when did you start painting and what led you to your current practice? I started painting at very young age; it’s been a natural continuation after drawing 76

and other experimentations with pencil, charcoal, watercolour and ink. During this time I also learnt basketry, pottery, knitting and embroidery. Later on I’ve been deeply affected by Turner and Monet’s paintings; their expression of nature, searching to express its beauty, its spirituality pushing the limits of figural painting. I was maybe too much impressed to make my dream of becoming an artist come true, and I chose instead to study decorative painting in Italy, also for a quick livelihood. I’ve learnt to imitate all kinds of material such as wood, marble and stone and also frescoes. This has led me to work in exclusive places in many countries for more than a decade. During all those years as a professional decorative painter I was secretly painting on canvas, until an art collector found it out and encouraged me to dedicate myself to art. After a promising beginning in the art world I had to stop and become a Buddhist monk for almost 8 years to be able to find an authenticity, my way, in the expression of the spiritual nature of the universe.

Hope#201230, acrylic on canvas, 2020, 50 x 50 x 2 cm

Distorsion Temporelle, acrylic on canvas, 2020, 60 x 60 x 4 cm

What is your approach to creating a new artwork; to what extent do you find yourself planning out a canvas compared to working intuitively? As a former Buddhist monk and a painter I’m used to painting and meditating every day. The more you paint and meditate, the more you’re able to reach high levels of concentration and capability. In a mindfulness practice, body, mind, canvas become one with the universe, leaving only the act of painting. In this act of painting it’s the true nature of the universe which expresses itself 78

on the canvas. Therefore there is no plan, no other intention than to become oneness. I don’t know if it can be called intuition but this is how things happen. The mediums you use on your canvases appear to play a big role in your practice, have you always played with materiality, working with mixed media? Exactly, mediums are very important in my practice. I use the different physical properties of water and its reactions with other elements to create lightness, new textures,

Impressions Nocturnes, acrylic on canvas, 2020, 80 x 80 x 2 cm

cracks, vibrant colours, flows, gradients, transparencies, depths, tears, etc. Year after year I allow my practice to broaden its discoveries; to add new media but always with a minimalist and sustainable goal where only the essential remains.

November 2020 at Art3F now is scheduled for early spring, but due to the actual conditions in Belgium I'm afraid it will be postponed one more time. poggiodipoggio.com poggiodipoggio@gmail.com

Is there a piece or series you’re currently working on? Do you have any upcoming exhibitions? I’m currently working on three series, #Les Nymphéas, #Hope and #New world. A solo show that was previously scheduled for 79

Bending waves, paper print, 2016, 50 x 70 cm

P aolo L azzarotti Inspiration from the natural world has surrounded Paolo Lazzarotti since childhood, growing up close to some of the most beautiful locations in Italy; with wild coastlines, the Tuscan countryside and Cinque Terre National Park leaving their mark on the photographer. His practice has been self-taught, learning through experience and a passion for capturing beauty. The contrast between the stillness and tranquillity of nature in a world that is always moving and changing - where a calm breeze can turn into a tempest - can be seen in Lazzarotti’s images; the motions of wind and water preserved in a moment of time, seen particularly in scenes of crashing waves, 80

surging waterfalls and swirling tides where white foamy water covers the shore like silk. Lazzarotti approaches portraiture with a similar energy, encouraging movement from his models who fill the frame like a summer storm. Based in Massa, Italy, Lazzarotti has won numerous photography prizes for his work, from competitions such as the Fine Art Photography Awards. His portrait work has also been featured in publications internationally. paololazzarotti.photo info@paololazzarotti.photo

Blue Ice Cave, paper print, 2017, 80 x 60 cm

Green sprays, paper print, 2018, 50 x 70 cm

Blue Force, paper print, 2017, 50 x 70 cm

Poseido Awakens, paper print, 2017, 70 x 100 cm

Poseidon blue hairs, paper print, 2019, 50 x 70 cm

A unique vista on the waves, paper print, 2020, 50 x 70 cm

Under the wave, paper print, 2020, 50 x 70 cm

Tellaro Swirl, paper print, 2017, 70 x 50 cm

In The Open, acrylic, 2020, 100 x 120 cm

P en ’ N y The pure and simple pleasures of nature are replicated in paint by Fine artist Penelope Nanton, who is known by her artist name Pen’Ny. Her artworks fill the edges of the canvas with the bright colours of flowers and leaves, the tactile textures of grass and branches and the soft glowing light of changing seasons; filling the heart of the viewer while becoming immersed in the artist’s view of the world. Pen’Ny attributes her unique and distinguishable aesthetic to her unusual technique of painting, which sees her 86

applying paint with a brush in both hands. Her ambidextrous practice allows her to truly communicate not just what is seen, but also what is felt while creating work; in turn passing these emotions to the viewer. pennys-inspirations.com penny@pennys-inspirations.com

Rhododendron in Lockdown, acrylic, 2020, 60 x 90 cm

Blue, acrylic, 2018, 50 x 76 cm

Thinker, pencil on paper, 2015, 58 x 70 cm

L ou P atrou New York artist Lou Patrou has been drawing and painting faces since the 1960s, developing a distinctive Pop Surreal aesthetic with elaborate mask-like motifs and graphic repeating patterns in bright, bold colours. While his earlier works were created spontaneously, Patrou’s practice now sees him planning his drawings and paintings out more carefully; with a more elaborate design focus and pieces created on a considerably larger scale. In recent years his work has evolved into physical objects as the artist has become 88

very involved in product development and licensing. Patrou has exhibited his work in galleries in New York City, San Diego, Los Angeles, London and upstate New York, and has developed a following among collectors and fans of his work all over the US. patrou.com lou@patrou.com

Lavender Betty, acrylic on watercolor paper, 2020, 102 x 72 cm

Curcuma, mixed media and nails 2013, 120 x 226 x 84 cm

E rnesto I b á ñ ez Menageries of animals both recognisable and fantastical are brought to life in sculpture and paint by Ernesto Ibáñez, where the textures of fur, feathers and plumage are reimagined through thousands of fine elongated particles that cover most of the creature. Originally the artist’s works were made of wood and cardboard, before developing his technique with steel. Despite the sharpness of his pointed medium, the works almost invite the touch of the viewer, with tantalisingly tactile textures; the cold metal juxtaposing the allusion to soft fur. Throughout his body of work both sculptural beasts and his canvases evolve towards 90

the abstract, tied together with the colourful geometric elements seen in the beaks and jaws of the animals. When combined with the subtle dynamism of the nails there is a distinct personality seen in each piece. ernestoibanez.com contact@ernestoibanez.com

Theodore, mixed media and nails, 2019, 73 x 33 x 30 cm

Dawn and Iris, 2020, oil on canvas, 30 x 30 cm

Delphin, 2020, oil on canvas, 30 x 30 cm

L y nn K eddie The ephemeral beauty of flowers bloom and grow in a celebration of nature in Lynn Keddie’s paintings; depicted growing wild across fields, in delicate garden compositions and, recently, as non-figurative displays of shape, colour and changing light. Although also working as a garden photographer over the last two decades, her captured images of flora through changing landscapes and seasons aren’t used as resource material. Instead Keddie’s painting process sees her favouring the power of memory and subconscious to guide her. Rags and knives are used as tools alongside brushes, with loose, gestural marks in oil used to describe her subject. As well as a likeness of form - which often appears emerging through abstract applications of paint - the artist always intends to bring emotion to the 92

canvas, evocative of the feelings felt viewing the original scene. Keddie has spent the last ten years learning and refining her process with eminent artists at The St Ives School of painting, The West of England Royal Academy in Bristol, Heatherly Art School and The Mall Galleries in London. Her work is held in significant private collections in the USA, Canada and the UK, and she exhibits regularly at art fairs across the country, as well as hosting painting workshops from her studio in Frome. During COVID when galleries have been closed and exhibitions cancelled, Keddie has used Instagram as a platform for exhibiting her work to the world. lynnkeddie.com lynn@lynnkeddie.com

September mornings, 2018, oil on canvas, 60 x 60 cm

Blackbird, 2020, oil on canvas, 30 x 30 cm

Gurnards Head, 2018, oil on canvas, 40 x 40 cm

S-1, gliceé print, 2019, 66 x 100 cm

I van K lem The conceptual development that leads to a series of work is an integral part of photographer Ivan Klem’s process, taking thoughts and ideas and forming them into tangible collections. Avoiding the obvious in his exploration of the realities that surround the microcosm of his life, he is drawn to complex, dark and abstract themes, often experimenting with the dualities of form and materiality.

with quantum mechanics and poetry, and has been exhibited worldwide.

Klem’s latest series, ‘S’, a monochromatic land art Project where the forest becomes a theatre of ephemeral installations, explores the multilayered meanings behind ropes, knots and borders, relating to spaces in nature and the human body. His previous work, ‘H’, deals

ivanclemente.es photo@ivanclemente.es

Based in Madrid, Klem’s prolific career has seen him exhibit his work individually and collectively around the world. He has been a finalist in numerous awards including the Fine Art Photo Awards and Palm Springs Photo Festival.

S-2, gliceé print, 2019, 66 x 100 cm

S-3, gliceé print, 2019, 66 x 100 cm

Thyself at once in one huge Mouth of Universe make meat reply, acrylic on canvas, 60 x 42 cm

Ben Bell Like the fissures and folds of a brain, Ben Bell applies thick strokes of paint in swirling, expressive knots, creating abstract-surrealist paintings while experimenting with colour, layers and form. The long marks of his brushstrokes can be followed like the winding paths of a labyrinth, the toothpaste-stripe pigments merging into one as he pushes and pulls the paint across the canvas.

and enhances the overall impact. Titles are important to the artist, and for this series he uses extracts taken from the poems of Beat Generation poet Allen Ginsberg. Based in Norwich, UK, Ben has participated in group and solo shows locally and in London. b.bell@hotmail.co.uk

Having made abstract paintings for the last ten years, in his recent works, Ben controls his painterly gestures so as to offset them against a flat and monotone ground, which frames 98

Catch up my fleeting eye in the vast Ray that knows no bounds, acrylic on canvas, 60 x 42 cm

None but the Presence too mighty to record!, acrylic on canvas, 80 x 60 cm

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That my prayer surpass my understanding, I lay my vanity at Thy foot, acrylic on canvas, 60 x 42 cm

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U pcoming artist e x h i b itions L y nn K eddie Wylye Valley Art Trail, Lower Lawn Barns Wiltshire, UK 1 - 9 May 2021

T err y Beard 4ARTS'SAKE, Salthouse, Norfolk, UK 31 July - 15 August 2021

E ve O zer New Works by Gallery Artists Chicago Art Source, Chicago, IL, USA 19 February – 17 April 2021

N ewel Hunter Art Now America, Slocum Galleries Johnson City, Tennessee, USA 2 March - 9 April 2021 Expressions West, Coos Art Museum Coos Bay, Oregon, USA 1 May - 27 June 2021

P ia K intrup The Other Art Fair Brooklyn, New York City, USA 6 - 9 May 2021 Tokyo International Art Fair, Tokyo, Japan 4 - 5 June 2021

R o b ert F rankel A Visual Culture, Van Der Plas Gallery New York City, USA 24 March - 4 April 2021 Saatchi - The Other Art Fair, Los Angeles, CA, USA 24 June - 27 June 2021

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