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1 3 4 0 A RT M A G A Z I N E 2017 // Q4


Miriam Escofet

Issue #6 Q4 2017

Cover Art by Miriam Escofet An Angel At My Table More on pg. 20

1340 Mission Statement Since its founding, 1340 Magazine has been a platform for artists you’ve heard of, and artists you should get to know. Through our print editions and online presence we are building a community of artists and connoisseurs from all over the world, and showcasing a diverse collection of styles, influences and processes.

1340 Art Magazine Keizersgracht 241 1016 EA Amsterdam

Editor in Chief Roy Owh

Creative Director Nadine Froughi

Contributors Q4 Steve Rendall - Writer Elene Slozko - Writer Chris Vermont - Writer Keri James - Editor

Advertising Enquiries Iwan Steward

Design and art direction: Nadine Froughi Creative Communication

Published by 1340 Media (Part of Thedge BV) All rights reserved 1340 Media, the artists, the writers and photographers.

EDITOR’S NOTE 1340ART Magazine was not created with small-town mentality in mind. Instead, I envisaged creating something spectacular to be admired the world over by artists, art enthusiasts, and aficionados alike. With this Q4 Edition, packed full of more than 100 beautiful and inspiring pieces by artists from all over the globe, we can say we are that much closer to achieving this aspiration. This edition of 1340ART Magazine is even bigger and better than the one before it, and it features some of the greatest artwork we’ve had the privilege of discovering. With the numerous entries received, it has been an exhilarating yet challenging odyssey selecting the art to publish

in this edition. We want nothing more than to showcase the exciting work of these talented artists, all with pure enjoyment for the viewer in mind, and we feel that this edition encompasses these aspects, while being presented as a sophisticated visual display. In addition to the magazine, by means of the various other platforms we’ve initiated, including our recently launched YouTube Channel and Blog Features, with our online 1340Gallery coming soon too; we believe we’re taking the world by storm, one piece of artwork at a time. We are elated to have you as a part of our journey, and we hope you enjoy the ride.

Roy Owh, Editor in Chief


Michael Sole Pg 22

Deborah O’Toole deborahotooletextilear Pg 43

Skyler S Swender swenderar Pg 59

Lola Empire @lolaempire Pg 2

Jemimah Patterson www.jemimahpatter Pg 23

Ina Wilken- Cawley Pg 43

Wu Ching Chih Pg 59

Nadezhda Kashina ainoar Pg 3

Christina Hermainski Pg 24

Sara Zaher Pg 44

Julie Karabenick Pg 60

Johnny Morant Pg 4

Jenifer Dapper Pg 25

Zaina Alhizami Pg 45

Elyse Hutchinson Pg 61

Julie Anne Bradley Pg 5

Ian Kingsford-Smith Pg 28

Jennifer De Graaff Pg 46

Olivia Wiessmann Pg 62

Martina Bulkova Pg 6

David Han Pg 29

Trevor van den Eijnden http://www.trevor Pg 46

Thomas Peltier Pg 62

Lisabeth Mertins lisamer Pg 7

Luke Desmone Pg 31

David K Betts DKar tist Pg 46

Ebony Darkins kins Pg 62

Youjong Kim Pg 8

Ira Upin Pg 32

Kira McMinn-Loughlin t Pg 47


Beate Tubach Pg 8

Marco Cezare Pg 32

Adrian Platkovsky www.platkovskyar Pg 48

Laura Jane Scott Pg 63

Ernestine Faux Pg 9

skullbarf Pg 32

Noela Stratford Pg 49

Jeanette Ai-Lin Nair Pg 63

Vasil Vasilev vasoar Pg 10

David Fitzgerald Pg 33

Ivan Djidjev Pg 50

Faye Bradley t Pg 63

Aaron Sorensen sorensen Pg 10

Jason Acton Pg 34

Sybiline t Pg 51

Ulrik Mikkelsen t Pg 64

Pim Wever Pg 11

Liam Wirth thedefectivedoodler.dapor Pg 35

Leonardo Vargas Pg 51

Maria McClarnon mariamclarnonar t Pg 64

Chandle Lee Pg 52

Guiseppe Valente Pg 65

Mariano Ceol Pg 53

Marijke Skowasch Pg 65

Sandy Frank www.sandyfrankfinear Pg 13

Emma Jouison faitdesphotos Pg 36 Lubomir Rechtorik Pg 36

Faiz Abbas Pg 14

Thim Rohde Pg 37

Laurie Doney Pg 54

Karyn Fearnside ynFearnsideAr twor k Pg 65

Jakob Matzen Pg 15

Dana Harris Pg 38

Denise Fulton Pg 55

Joana Fischer Pg 66

Dorothy Nkemdirim dnkemdirim.mypor Pg 15

Ekaterina Adelskaya Pg 39

Amy Louise Lee Pg 56

Karen Ferrer karenferrerfinear Pg 66

Meena Saifi Pg 16

Marella Campagna Pg 39

Jens Wortmann tmann Pg 57

Helen J Young helenjyoungar Pg 66

Adriana Florea Baloiu Pg 18

Brett Williams www.brettwilliamsar Pg 40

Marco Biscardi Pg 57

Thomas Kosa Pg 67

Jason Ackerman Pg 19

Key Zhou Pg 41

Gary Hoang yar t Pg 58

Lia Mirensky Pg 68

Anne Trieba Pg 19

Monica Johannsson Pg 42

Ilya Chaynikov Pg 59

Mira Song Pg 69

Miriam Escofet Pg 20

Jakob Boyd ymanpoet Pg 42

Adam Joseph Rosati Pg 59

Vanessa Ashcroft Pg 12

Jack Davis - (Clockwise)Through the Looking Glass, Age of Extinction, On Thin Ice, B e t t e r t h e D e v i l Yo u K n o w Acr ylic and Oil on Canvas - All 100 x 120 cm

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Hello, I am your audience. I am your witness.

You Are Not an Artist

I want to see what you see, hear what you hear, feel what you feel. My mind is my greatest erogenous zone.

Don’t cater to me. Don’t worry about meeting my needs and expectations. Challenge me. Surprise me. Soothe me and provoke me simultaneously. Mirror me back. Introduce me to my unknown selves. Empower me. Inspire me to be the best version of me. Inspire me to be all that I am capable of being. You are not an artist. There is no distinction between you and your art.

You are art.

Disregard reality. It is negotiable. Get lost in your cerebral landscapes but don’t believe everything you think. You are ultimately a collection of paradoxes. Relax, remain ambiguous. Don’t strive for completeness. Welcome and embrace chaos by conscious undoing. Forget about techniques. Take pride in being undisciplined. Open up your wounds, show me your scars and I will follow you despite trends and hype. The relationship we have is universal. It’s all-inclusive. It’s warm and beautiful. We are one. We are energy beings. I fall. I fall in love. My heart gets broken. I die. I am reborn. I am stronger at the broken places.

I am art, too

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Lola Empire

Nadezhda Kashina - Detail from Faces IV Clay and Acrylic - 120 x 250 x 8 cm

big blue portrait

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Johnny Morant - Midday Sun Oil on Nautical Chart - 140 x 105 cm

Julie Anne Bradley - Standing Stones Gouache and Collage on Paper - 57 x 76 cm

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Mar tina Bulkova - Shaman (Above), Tr a n s f o r m a t i o n ( B e l o w ) Various - 100 x 70 cm, 110 x 55 cm

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As President Trump prepares to declare America’s Opioid Epidemic a national emergency, the opioid ravaged communities of the American heartland still live with the burden of a crisis allowed to metastasize. Following years of neglect, recession, lack of political will and institutionalised poverty, roughly 64,000 people died from drug overdoses in 2016, and these skyrocketing rates leave few families in the rust-belt and surrounding areas untouched., America’s opioid epidemic has also touched the life. of artist Lisa Mertins, who uses porcelain, concrete and rebar to express her reaction..


Lisabeth Mertins - Concrete Ideals I Porcelain, rebar, concrete - 43 x 43 cm

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Yo u j o n g K i m - O b e y N o t ( L ) , Colour Theory (R) Graphic - Both 20 x 20 cm

B e a t e Tu b a c h - M e t a ( L ) , K i m ( R ) Photography - Giclée Print - 48 x 33 cm

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ERNESTINE FAUX Ernestine Faux communicates with and through colours, using colour as a higher goal and in doing so, translating the simplicity from the complexity. According to her, colour as the current state - as everything - is asking to be given form, resulting in the evocation of basic human emotions. “Our response to colour mirrors our response to life. Colours we like are related to aspects of life we feel comfortable with. Colours we dislike correspond to experiences we have kept in the dark. Ernestine Faux´s cycle „Chromatics” is a portal into one´s inner terrain.” ~ Dr. Jacob Lieberman,

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Va s i l Va s i l e v - F r a g m e n t s o f H a p p i n e s s Mixed technique on Linen - 160 x 120 cm

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Aaron Sorensen - Life Acrylic - 81 x 101 cm

P i m We v e r - W h i t e H e a d Bronze , polished, white lacquer - 35 cm tall

Va n e s s a A s c h ro f t - T h e L i g h t F a l l s Mixed Media on Paper - 70 x 50 cm

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Sandy Frank - On My Back Earthenware, Oxides, Paint - 58 x 30 x 30 cm

SANDY FRANK Sandy Frank’s evocative figural clay sculptures capture not only the external physical manifestation and traits of what she depicts, but also the internal, spiritual and psychological physiognomies of her subject. They breathe for us. She uses her medium, the age-old process of shaping clay, to ground herself so that she can connect a modern consciousness to an ancient one. Clay is luscious and sensuous. Frank fell in love with clay over 20 years ago while living for a time on the Caribbean island of Grenada, working with local artisans to dig up the clay and process it to create a workable medium. Spending over 10 years perfecting her technique in clay, Frank uses live models so that her sculpture energetically and anatomically “breathes and feels right”. She works with a variety of clay bodies and finishes to get the desired effect. She seeks to create beauty in her work but with enough intrigue to cause a double take.

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F a i z A b b a s - H o n g Ko n g H o o d s : M o n g Ko k R e s i d e n t i a l & H o n g Ko n g H o o d s : M o n g Ko k M a d n e s s Abstract Photography - 1 x 1 each

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Jakob Matzen - A Shadow Can Only Hide So Much Acylic and charcoal on torn book pages - 21 x 30 cm

Dorothy Nkemdirim - Overlayered 2 Photography and Still Life - 99 x 74 cm

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A Seeker Soul, an Afghan Artist Spring had arrived, and with its arrival the city of Kabul anxiously awaited the moment when the buds of winter would bloom into smiling spring flowers. With a passionate fervor, the people of the city bustled about to celebrate this ancient rite of spring, Nawroz. In 1990 on this lovely day, this momentous occasion, a smiling child was born into a family of artists and scholars. Her father, Asadullah Saifi, an "Afghan Graphic Artist," is anxious to see the baby girl he had always dreamed of. He held her closely as tears of joy flowed down his face. He named her Meena, Means "Love". Time passed slowly in those days and soon Meena was three years old. Unfortunately the intensifying conflict in Kabul forced Meena's family to leave their beautiful city in search of a safe haven in Pakistan. They finally settled in Rawalpindi Islamabad. At the time, 1995, Meena's father, Asadullah Saifi, had four children. Concerned for their future and education, Asadullah resolved to establish a school in Rawalpindi Islamabad that would serve to educate his children and the children of other Afghans who had fled the impending civil war. He called the school "Sufi Ashqary," and for as long as he resided in Rawalpindi he established his own safe haven for the refugees of Afghanistan. From an early age Meena assisted her father in the preparation and publication of the school's curriculum, mean-

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while submitting her artwork to the school paper. Eventually, her interesting and fun drawings attracted the community's attention. Meena continued painting and drawing until her fourteenth year. It was at this time, just as the flowers of youth were blooming in her paintings, that Meena's family faced another crisis. Due to dire financial difficulties, the family was forced to move from Rawalpindi Islamabad to Peshawar in 2004. Once again uprooted and removed from any semblance of familiarity, Meena had to start over. But, providence saw fit to bring her closer to her art and continue her education under the fine tutelage of Ustad Qais Nawabi, a most revered Afghan artist, at the Iranian University Cultural Center of Art. In a very short amount of time it became clear that Meena's expressiveness far surpassed that of any of her classmates. Her first oil painting, "Dream," at the age of sixteen was sold in very high price to an Afghan living in Germany, as she said:" I will make it to Germany one day just to see my art one more time. I can remember the first time I touched the oil brush. I felt like I was connected to my soul that brought my deep imaginations out. I didn’t wanted to sell my art, and I cried when I had to, but I knew that one day I would be able to reunite with it once again." Unfortunately, in 2007, her father, who was the sole enthusiast of her art and prime encouragement throughout her journey, was diagnosed with cancer. As each day passed, his pain and suffering increased. During this time he made a request of his daughter to draw a beautiful scene for him that would make him forget the pain he was enduring. She began to paint, and when she was done he beheld a fine sunset before him. He looked at her painting and said, "My dear daughter, I spent two years in prison under pain of torture and I remained strong. My sweet mother died, and while it saddened me deeply, I did not shed a tear. I managed

the desolation of being a refugee, torn from my country, impoverished and wandering from city to city. Even through all this, I did not shed a tear. But this cancer, which has ravaged my body, brings me to tears. Like a child I cry in the midst of my own suffering. Yet when I behold this fine work of art you have created, I realize that all my dreams are alive within your art. It is my truest wish that one day your name will be pronounced in the same breath as Picasso's." Asadullah Saifi continued to live with his wife and children until December 28th, 2007, when he lost his battle with cancer. Meena was 17 at the time, but she had to bear the loss of her father with a veneer of strength, for herself, her mother, and her siblings. And through this trying time, she never forgot her all that her father provided for her to see her succeed in her art. To this day, when she paints, she feels that her father is beside her, telling her that her ascension in the world of art is still in his dreams. Only a few weeks had passed since her father's passing when Meena was selected to participate in an art exhibition at the Art center SPNW in Peshawar, Pakistan. For Meena this invitation was bittersweet, as to go there without her father was unthinkable, but to decline would disgrace his memory. She decided to paint her father, and it would be a grand portrait in his honor. Upon seeing this portrait at the exhibition, her own teacher, Ustad Qais Nawabi, who had known her father personally, said, "Now you have become Ustad Meena.". One of her painting "Baba Panjshiry," was sold in precious price, and she got her first interview with Voice of America in 2007. In 2008, Meena was invited to a huge event “Graduation Ceremony of Universities” Meena recalls the moment the award ceremony commenced, “So I entered this grand hall, full of people,

and I knew my father was seeing it all; I felt him right there by my side.” When the time came for Meena to accept the award and talk about her painting, "Sunset" she revealed that she painted it to honor the memory of her beloved father. As she talked, tears welled in her eyes, and a lump formed in her throat. She tried to hide it from the audience, but they felt her sorrow and grief so deeply that she was suddenly engulfed in wave after wave of welcoming applause. she got very high scholarship and one of the Universities "Ariana University" offered her a job and wanted her to work in their Art department. Life brought Meena to the land of opportunity. In 2009 Meena had her first art exhibition with Pangean Orchestra at Phoenix Memorial Hall. The Director of Pangean Orchestra, Colin O’Donohoe was amazed by her work and he bought her art "Dhol". After many years, she published her new work in 2013 and her art was

completely of different style. Her art visualizes and speaks of love, freedom, humanity, women empowerment, unsaid words and much more. She has been working keenly to support herself and to promote her work so that one day she can achieve the dream that her father had seen for her: to be named among the most honored artists of the world. And this is when she takes another major step towards her goal. Her work has been featured in art exhibitions in New York, Los Angeles, Phoenix, Afghanistan, Pakistan, France, and Germany. Recently on May 2013, she was invited and sponsored by Fluxus Foundation at Whitney Art Party in New York City which was Sponsored by Max Mara and hosted by the Whitney Contemporaries, which is one of the largest yearly gatherings of artists and Hollywood A-Listers. Meena have worked on various projects simultaneously all around the world like Pool Art Fair, Art Warned

the World, Kabul Art Project and many more. With each new accomplishment, she gets ever closer to make her father’s dream come true. Yet she has a dream for her father as well. She has never forgotten the school that he opened when they first fled Afghanistan. Her memories of that school have stayed with her over the years, and she vows that one day, she will reopen that school in her father's name. Until then, she will continue to create art that celebrates life, love, freedom, unity, and femininity. She is currently working on her Solo exhibition in Los Angeles which will be called “Dear Diary”. "My world is art, and the foundation of that world is love, peace, and freedom." ~ Meena Saifi ‫ قشع مرنه ییایند و تسا رنه نم ییایند‬، ‫حلص‬ ‫تسیدازآ و‬ ‫یفیس هنیم‬

Meena Saifi - Reborn

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Like a statue standing still, love Digital Painting - 114 x 116 cm

A time lost between dreams Digital Painting - 36 x 36 cm

J a s o n A c k e r m a n - A l t e r n a t i v e D r i v e ( F r o m t h e c o l l e c t i o n o f To m m y L e e ) Acrylic on Canvas - 18 x 22 cm

A n n e Tr i e b a - I n g e a n d L u d w i g a r e e a t i n g i c e c r e a m Oil on Canvas - 40 x 50 cm

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A Journey to Portraiture: Miriam Escofet Miriam Escofet has explored many ideas and subject matter in her work, but the unifying passion in all the paintings is describing a sense of space, volume, atmosphere and detail, arriving at a kind of hyper real expression of the subject matter. These same pictorial concerns govern when she engages in portraiture, a relatively recent theme her work. Her 'arrival' at painting has been a slightly unusual one, in the sense that she purposely set out to study a skills based 3D Design course, where she specialized in ceramics. Her rationale for this was that she had always loved the making process. Drawing and making are still at the core of Escofet’s work, but painting allows her to invent other spaces and ideas with no physical constraints.

Va n i t a s

She paints mainly in oils, with an extremely detailed technique, applying many layers and glazes to achieve a sense of space and mood. She works at a piece until she feels she has arrived at an expression of palpable space. Her work is classically inspired and the journey to a painting is multi- disciplinary; often involving the construction of props or elaborate maquettes and the use of complex perspective. Her themes revolve around ideas of aesthetics, imagination and symbolism, including allegorical and archetypal subjects and the idea of magical landscapes and archaic pasts. She sees paintings as portals - worlds one can visually step into and be transported and sometimes even transformed by. There is a belief that the primary function of art is to trigger a moment of transcendence in the viewer, a sense of timeless connectedness to the universe. In short: to fill one with wonder.


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English gold no.11 Iona sketch no.8 Oil, gold leaf and acrylic on canvas - 180 x 160 cm Oil and acrylic on canvas - 50 x 40 cm

MICHAEL SOLE I paint from nature using a method I call Involuntarylism. Nature is a broad subject matter, yet I have homed in and focused on the parts that inspire me to experiment with materials and processes that not only interest me and produces original paintings, but completely satisfies me and highlights who I am as a person. The concept behind my paintings completely relies upon the idea of involuntary mark making. How the materials react with one another and how I go about applying them to the canvas. With this concept in mind, nature, with its natural geometry, is the perfect subject as a base to experiment from. The idea of involuntarylism is allowing the paints characteristics and gravity to produce the marks, creating organic patterns, atmosphere and substantiation, allowing the painting to have a life of its own. As all my paintings are made on the floor, Involuntarylism is subject to me 'puppeteering' the paint, using gravity and built up knowledge of the materials and past experiences, to create the painting. The artist's involvement is purely to manipulate the paint, canvas, colours and consistencies so as to exaggerate as strongly as possible the resulting organic textures and marks. The image is starting to take more of a back seat role in my practice. Without the pressures of the image I can develop, push and explore the more interesting parts of my work and become more involved in the materials and processes which I think better replicate nature than image ever will.

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J e m i m a h P a t t e r s o n - T h e Tr o u n c e A f f a i r ( t o p ) , Oil on vintage convex mirror - 37cm diameter First Steps (bottom) Oil on nine V&A Museum display drawers - 247 x 186 cm

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Christina Hermainski (Clockwise from Left) F o c u s , F e m i n i s m 2 1 s t C e n t u r y, Cultural Mixing, Bottle life All Collage

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Jennifer Dapper - Sea Umbrellas Oil - 50 x 76 cm

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SUBSCRIBE Make sure to subscribe and be the first to recieve next quarter’s issue of 1340 Art Magazine. Get acquainted with the artists you already love, and those you’ve been waiting for..


J e r e m y B r i g h t b i l l - T h e r e ’s o n l y s o m u c h l e t t i n g g o y o u c a n a s k s o m e o n e t o d o Mixed media on panel - 33 x 53 cm


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Ian Kingsford-Smith - Mappa Vitae #1 Acrylic on Fibreglass - 1900 cm x 40 cm x 40 cm L’ A t e l i e r D ’ E s t h e r - P o r t r a i t o f K M Oil - 46 x 61 cm

Bambina Jacinto - Manang “Elderly Lady” Acrylic on Canvas - 22.9 x 30.5 cm

David Han -

Heron, photographed by Erin Ashford Stainless Steel - 10 x 10 x 13 cm

Luxembourg Art Week

Europe’s youngest art fair is set in the heart of one of the world’s most dynamic economic and cultural regions. With a selection of cutting-edge galleries, it lets buyers and collectors sample the best of today’s art from 3–12 November 2017.

Art Düsseldorf

Art Düsseldorf will combine the established with the new. It joins the experimental and the canonized in a direct opposition under the same roof. Around 80 established and young galleries from 20 countries show modern and contemporary art (19452017).17–19 November 2017.

Paris Photo 2017

Paris Photo, the world’s largest international art fair dedicated to the photographic medium, will hold its 21st edition November 9th -12th, 2017 at the historic Grand Palais in Paris. Over 180 galleries and publishers will be presenting a panorama of the history of photography.


The Other Art Fair London

The Other Art Fair returns to East London’s iconic Truman Brewery on 5-8 October 2017 to present 130 of the best emerging artists handpicked by a committee of art industry experts. The fair aims to create a platform for the ‘unexpected.’

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Amsterdam Art Weekend

Amsterdam Art Weekend is the only contemporary art weekend in the city and offers visitors more than 100 events at over 50 different locations. During this weekend, Amsterdam will be entirely dedicated to contemporary art. 23-26 November 2017.

Red Dot Miami

Red Dot Miami, is a modern, contemporary art show, running December 6-10, 2017 and featuring 50+ international galleries exhibiting paintings, sculpture, photography, and secondary market works. Exhibitors include top emerging and established galleries from around the world.

Charles Luke Desmone III - God(Blob) Ceramic - 46 cm

Ira Upin - Hat In Hand Oil on Panel - 91 x 137 cm

Marco Cesare - Ziggy Digital - 3000 x 3000 px

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skullbarf - normals 2 Mixed Media - 8 x 11 cm

David Fitzgerald - Vishnu Carries Jesus Across the Styx Acrylic on Panel - 122 x 91 cm

J a s o n A c t o n - D r i n k i t i n ( L ) , 76 x 101 cm, S t r a i t F a d e d ( R ) , 122 x 152 cm Acrylic

Color Pop

Jason Acton is a color-blind artist who uses colours learned in the past and brings them into the present to create a palette. He uses primary colors to create an organized, clean, and geometric balance to his compositions. His artistic style is inspired by POP Art and the use of primary colors on a two-dimensional surface. According to the artist: “On canvas, I use complementary and primary colors, dots, and the occasional use of shading to create the idea of motion, depth, and three-dimensional effects of the images off of the flat 2D surface. Each color I paint has 4 or 5 layers of paint applied to them to give a thick opaque

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paint application. Large canvas works range in hours from 300 to 400. Medium range pieces can go up to 25 hours. In addition to pop acrylic works, I use everyday images and images from my paintings that are turned into stencils for screen printing onto fabric canvases. These images are juxtaposed over each other in 4 to 6 primary colors. Finally the fabric canvases get wrapped around stretcher bars with the same matching blank fabric piece on the back. When viewing screen prints live in person you can put on 3D glasses that allow the viewer to see the screen print designs POP off the fabric. The glasses take the

color rainbow colors and designate distance orientations for each color of the rainbow. Blue recedes to the background while Red comes to the foreground and the colors in between fill in the middle distances. These 3D glasses may also be used with canvas pieces to view in 3D. In the custom art department, I make custom art headboards from wood, fabric and foam, custom lighting fixtures and upholstery panel pieces. Coming from the preferred style of modern art, I create paintings, which reflect my personality, interests in music, objects of interest, as well as my interests in graphic/interior design and architecture.�

L i a m W i r t h ( A g e 1 3 ) - R e v e a l i n g L i g h t ( L ) , 23 x 30 cm T h e M a c h i n e ( R ) , 23 x 25 cm Pen and Ink

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E m m a J o u i s o n - U p s i d e To w n Photography - 60 x 40 cm

Lubomir Rechtorik - Future Photography - 105 x 70 cm

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Thim Rohde - Har vest by the Sea Acrylic on Canvas - 80 x 100 cm

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meiji- jingumae, 2009-2016 Hand knitted wool, cotton on stretcher frame - 210 x 210 cm

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Our Fragile Connection Photography

Eight Phases Canvas, watercolour, honey, embroidery hoop



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BRETT WILLIAMS Candy Chalk Pastel - 200 x 150 cm

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Ke y Z h o u - L e av e s Acrylic on linen with mixed media - 100 x 150 cm

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Jakob Boyd - Freemantle Winter Photography and Digital editing - 2448 x 3060 pixels

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Monica Johansson - Escape Digital Art, Photography - 2000 x 2582 pixels

Ina Wiken-Cawley -A Splash of sun would be nice Mixed Media

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D e b o r a h O ’ To o l e - D i a m o n d s Textile - 32 x 27 cm

Born in Cairo in 1990; her restlessness pushed her to a path of transition. Since then she has lived in Lebanon, London, Manchester, New York and Sydney. This constant shift in space has affected the social, political and personal themes in her work. Her education helped define her interest in mediums such as video art, digital collage and installation art. Through the use of these tools, her work aims to question the fragile boundary between the personal and the political. A way to exploit

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( C l o c k w i s e f r o m l e f t ) W h a t ’s y o u r p o i s o n , F r e e d o m Fries, Modern Love, Emoji Dose Photography/Digital Collage - Giclée prints - 25 x 25 cm

Sara Zaher is a visual artist based in New York.

her relentless need for questioning as a way to position herself within this ever-changing social pendulum. In her recent transition as an emerging artist, her work has already garnered national and international attention through publications such as Design Taxi, Grazia and Designboom. Her work has also been exhibited in galleries and fairs in New York, Sydney, Singapore and Paris and has been featured in collections globally. Artist Statement: Confusion breeds confusion. Having been brought up in a turbulent environment, my work aims to tackle themes of

identity within a fragile sociopolitical landscape. Always striving to question my place within a cultural system that is both foreign and familiar. This feeling of the uncanny, the uncomfortable, is projected in my relentless attempt to question, deconstruct and reassemble existing social frameworks. This reconstruction usually takes the form of photography, video and installation art. But is always recreated from the mind’s eye of an eternally, cynical idealist.


Tu r b a n Acrylic on Canvas - 40 x 60 cm

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David K. Betts - Fast Food Charcoal and Graphite - 36 x 43 cm

Jennifer De Graaff - Cobh Analog Photography - 21 x 14 cm

Tr e v o r V a n d e n E i j n d e n Relic II: the wood between the worlds Surveillance plexiglass (two-way mirror), acid etched 3D printed forms, found materials, LEDs, MDF. -10 x 10 x 10 cm

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Kira McMinn-Loughlin - Calm Oil - 21 x 30 cm


Static Dynamics Spray on Canvas - 80 x 80 cm each

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Noela Stratford - Profile: Hanging Rock Charcoal on Paper - 86 x 110 cm

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Ivan Djidjev - The Enlightenment Mosaic - 84 x 65 cm

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Sybiline (Chantal Lajoie) - Peaceful Child Oil on Panel - 28 x 35 cm

L e o n a r d o Va r g a s - Po r t r a i t o f H a n n a h Oil on Poster- 62 x 53 cm

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C h a n d l e L e e - I W a s K i l l e d B y A g e n t O r a n g e , A n d I A m N o t D e a d Ye t ! Oil on Canvas - 40 x 50 cm

Mariano Ceol - The force of sight is only achieved through a single eye Watercolour - 50 x 70 cm

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Visual Artist Digital - 12 x 12 cm

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Sunburst Oil on Panel - 51 x 41 cm

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Amy Louise Lee - Raw Grace 2 Molten metal on white linen - 36 x 36 cm

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J e n s Wo r t m a n n - U n t i t l e d Collage - 20 x 30 cm

Marco Biscardi - Bomba-Cola Photography - inkjet fineart print on hahnemuhle baryta photorag Paper 150 x 100 cm

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Gar y Hoang - The Beauty of Freedom Collage, Mixed Media - Dimensions Variable

I l y a C h a y n i k o v - Tr y t o b e S o m e t h i n g Digital Collage - 35.5 x 35.5 cm

S k y l e r S S w e n d e r - To a s t & S m o k e Cinema 4d Digital Render - 1500 x 1500 px

Adam Joseph Rosati - Wine Shower Digital Illustration - 13 x 13 cm

Wu C h i n g C h i h - S a j u r a i n t h e A i r Copper and Enamel - 15 x 15 cm

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#53 (top), #55 (bottom) Acrylic on Cradled Wood Panel - 61 x 61 cm, 66 x 66 cm

Elyse Hutchinson - Primary Agate Slab Acrylic - 46 x 61 cm

To p L - R : O l i v i a W i e s s m a n n - U n d e r W a t e r A l i e n a l i a s Ve n t i l a t o r, Photography - Dimensions Variable; T h o m a s P e l t i e r - S a v a g e P o p , Pigment Ink and Photoshop - 21 x 21 cm; L a u r a J a n e S c o t t - R o t a t e 0 0 1 , MDF and Interior Paint - 40 x 60 cm; J e a n e t t e A i - L i n N a i r - R e f l e c t i o n s 1 , Tin, Acrylic and Wire - 282 x 226 cm

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B o t t o m L - R : E b o n y D a r k i n s - L i f e i n S h a p e s , Digital Art - Dimensions Variable; T I T O / M U L K - M o n e y, Acrylic on Canvas - 86 x 65 cm; F a y e B r a d l e y - L e a f , Photography - Dimensions Variable

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The Descending Ink and Watercolor - 42 x 59 cm

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Saint Patrick, Patron Saint of Ireland Acrylic - 59.4 x 84.1 cm


Lussuria Oil and Mixed Media on Canvas - 90 x 100 cm

Marijke Skowasch - Cocktail Par ty Folks Gesso and Watercolor - 20 x 20 cm

Karyn Fearnside - Unimpeachable Photography Archival Print - 35 x 34 cm

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Clockwise from top left: J o a n a F i s c h e r - S e c r e t H i d e o u t , Ink on drafting film, LED backlight - 89 x 58 cm; K a r e n F e r r e r - G l i s s a n d i ( I n P u r p l e ) , Acrylic - 56 x 97 cm; H e l e n J Yo u n g - We a t h e r e d P r a y e r s , Oil and cold wax on canvas - 40 x 50 cm

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Opposite #2 (Left), Opposite #11 (Right) Photography - Both 24 x 48 cm

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LIA MIRENSKY N e w Yo r k , N e w Yo r k Collage - 28 x 43 cm

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Narrow alley in hometown Oil and Acrylic on Canvas - 38 x 48 cm

Mira Song is an interdisciplinary artist based in Vancouver, BC and Seoul, South Korea and has exhibited in Seoul, Hong Kong, Toronto and Vancouver. She holds a Masters of Applied Arts from Emily Carr University of Art + Design, a Certificate in Garden Design from UBC and a BFA from Korea National University in Seoul, South Korea. In her practice, Song explores natural and constructed public spaces, reframed through the embodiment of different senses that trigger memories and imagination. Song investigates this aesthetic territory by gathering objects and images of architectural and natural spaces which she then reappropriates into multimedia works, including painting and sculpture.

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1 3 4 0 A RT M A G A Z I N E 2017 // Q4


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1340 ART Magazine Q4 // 2017  

1340 ART Magazine Q4 // 2017

1340 ART Magazine Q4 // 2017  

1340 ART Magazine Q4 // 2017

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