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1340 ART MAGAZINE 2018//Q4

Alida Van Almelo

$19.99 USD

Issue #10 Q4 2018

Cover Ar t by Alida Van Almelo Offset Flow More on pg. 47

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.

Beekstraat 54 – Room 215 6001 GJ Weert The Netherlands Editor in Chief Roy Owh Contributors Q2 Steve Rendall - Writer Elene Slozko - Writer Chris Vermont - Writer Keri James - Editor Advertising Enquiries: Iwan Steward Design and Art Direction: Ally Frame

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

EDITOR’S NOTE What is art? No one can provide a definite right or wrong answer to this question. In fact, sometimes, some things can’t be defined, only felt. As the saying goes ‘beauty is in the eye of the beholder’, and never has a statement been truer than with art. The idea itself is fluid, ever evolving and changing. In fact, art and the role it played in my life changed immensely throughout the years. Art, I have come to see, is very much like falling in love. First, came infatuation. The new discoveries with each encounter, much like getting to know a person. With each new colour combination, each different stroke of the brush, my heart swelled with joy. Like a beautiful, blossoming romance, I had seen and experienced something magical for the first time. Back then, I didn’t think too much about why I liked art, I just knew it was stirring a kind of passion inside me. Then, my love of art grew into something more. I began to develop a relationship with it, learning the theories, and understanding what it meant to convey a message through art. I was obsessed with getting to know more, learn more. I didn’t care about the good or the bad; I just knew I wanted more. I craved it. Expanding my knowledge in this taught me that actually, our response to art always depends on what we know—which includes factual knowledge about the world, cultural knowledge, knowledge gained from personal experiences, and even knowledge about the art process itself.

respond to artworks. As one who tries to create “art”, it is rather satisfying when an image elicits strong feelings and emotions in others. When it inspires those who view it. Most recently, my relationship with art has become a part of my identity, and I find it almost impossible now to distinguish between art and myself. I can’t imagine life without it, and just like when two people are together for long enough, the I’s end up melting into We’s. The relationships that flourish are those that allow you to grow and improve, even if through a bit of difficulty. In a similar way, despite the somewhat less of an infatuated thrill with which I used to approach art, I’ve gained experience and I have grown as a person. I have realized even more so that art is a medium of expression. It is like a second heart, beating alongside my own. I have come to see that as such, art can be extremely powerful. As I have grown older, so has my knowledge of various types of art and the copious amount of statements that you can make through it. I hope that with this edition, and our wide variety of styles and methods showcased, we will keep you inspired. Keep you craving the thrill of a first (art) kiss. From collage and acrylic paintings; traditional oils and exciting mixed media; watercolours and coloured pencils to painting and photography, we believe everyone can fall in love, as they admire the aesthetics so exceptionally portrayed by the art in these pages.

People say love is blind; but this love opened my eyes to something else entirely. This incessant love of art was, for me, an opportunity to explore the creative process as well as a way of understanding how viewers

Roy Owh, Editor in Chief


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Wolfgang Bohusch

Natalie Wooi

Gildas Francais

David Van Poppel

Moe Als

Vesha Ziolkowski

Penny Halsall

Jack Clarke

Vadim Dolgov

Estefania Izaguirre Lozano

Jana Rayne MacDonald

Anastasija Komarnyckyj

Jennifer Seastone

Sarah McGrath

Via Negative

Andrew Ir ving

Aidan Calabria

Allison M. Low

Marina Matlina

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Magdalena Majstrowicz

Eleanor Nigretto

Sandra Kowalski sandrakowalskiicom

Benjamin Issner

Emir Ramovic

Pei Shan Chiang

Marco Zupone

Kyle Gallaway

Carol Griffin

Marco Scesa

Sofia Varano

Maureen Nathan

Okdoll Kim

Anke Buchmann

Pinkarman (Luca Ribichini)

Wayne Fisher

Amy J. Dyck

Chahrazed Fekih

Susumu Matsuura

Who’s who, and where to find them.

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Sophia Gunkel

Rober t Thacker

Orly Shalem

Boopse Daisy

Bernadette Elizabeth

Siyi Ding

Alida van Almelo

Isabelle Girollet

Nico Nebbia

Matthieu Faur y

Ilia Chidzey ilia-chidzey

Marianela Perez G

Michael Raffer ty

Marisol Valencia

Sasha Zhitneva

Opoku Mensah mensah

Simòne van der Spuy

Marcelo Ramos


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Mar tyna Drab

Susan Kitchen

Hava Zilbershtein

Pernille Picherit

Myriam Beltz

Megan Hinds

Terri Froelich

Aleksandra Wolter

Leda Theo

Jurgen Pavanello

Andrew Fearnside

Anna Leyland

Van den Hende

Mirre Yayla Seur

Sophie Corso

Glen Gauthier

Max Savold

Anders Post

Ar t Green


With his series ‘silicon based creatures’ Bohusch invites the viewer to stand in front of his photographs, meditate, and let the mind wander into subconsciousness. The series of 21 photographs presented at OSME Gallery is the outcome of his stay in the Sahara desert experimenting with its elements like sand, wind, light, and chance. What you see on the photographs is thus the fusion of elements which serendipitously form into sculptures and are randomly captured on paper. The process behind these snapshots therefore resembles the behaviour patterns of bird or fish swarms. Silicon Based Creatures 2262 (Top Left) Photography - 140 x 112 cm

Silicon Based Creatures 5150 (Bottom Left) Photography - 140 x 112 cm

Silicon Based Creatures 5142 (Right) Photography - 140 x 112 cm

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big blue portrait

Natalie Wooi - Fleeting Moments Chinese Ink - 24 x 32 cm

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Gildas Francais - Afternoon at the Swimming Pool Digital Painting - 29.7 x 42 cm

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David Van Poppel - Copacabana Shower Photography - 40.6 x 50.8 cm

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Moe Als - Blaring Eyes (Left) Photography

Vesha Ziolkowski - Rinse (Right) Photography

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Penny Halsall - Daisy and the Ants Photography & Digital Art - 25.4 x 38.1 cm

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CL A R KE This work was produced to highlight a theory. The theory states that a better understanding of the makers intent has a positive effect on a viewer’s appreciation of an object, and, therefore, an increase in the perception of value within said object. Even though the art objects appear to have ‘genuine’ value, the fact that they lack practical utility in their assigned role as eating utensils implies an absence of value; that they should not be appreciated. However, the art objects were created with the express intent to achieve this goal; to function poorly in comparison to standard pieces of cutlery. If the art objects do not function as well as standard cutlery, then the value of the artwork comes from how well they achieve their intended purpose, in this case, by what degree is the practical utility of the art objects worse than that of the originals? Without prior knowledge of their intended purpose, even though the viewer holds something essentially valuable within their hands, they tend to be frustrated when using these eating utensils... A Study of Intention Mixed Media: Hand Forged Stainless Steel & Silicon Bronze - 32 x 23 cm

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Morning Wake Up Acrylic on Canvas - 101.6 x 152.4 cm

Estefania Izaguirre Lozano - Confined Acrylic on Canvas - 101.6 x 76 cm

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Opaque (Left) Acrylic on Canvas - 45.7 x 76.2 cm

Nor th (Right) Acrylic on Canvas - 45.7 x 45.7 cm

JANA RAYNE MACDONALD These paintings begin MacDonald’s exploration into the personal, cultural and political memories, allowances, hesitations and fears everyone experiences when presented with a face covered or hidden. By this series MacDonald wishes to arouse the emotions and realizations.

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Anastasija Komarnyckyj - Ordinar y Grandeur Charcoal, Pastel, Graphite, Pigment, & Wood Glue on Paper - 150 x 100 cm

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Jennifer Seastone - Evidence of Existence #2 Sculpture from Handmade Paper - 27.9 x 35.6 x 6.4 cm

Sarah McGrath - Sharp

Photography - 8 x 10 cm

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Via Negative - Lovers 2 Archival Pigment on Watercolor Paper with Acrylic Ink Wash - 66 x 53.3 cm

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ANDREW IRVING Embr yo (Left) Gun (Right) Photography - 25.4 x 25.4 cm each

Off-Pink is Irving’s art project that takes on social and political issues by viewing them through the lens of high-end fashion brands. The color pink is often used in a light and frivolous way, but Irving chose to juxtapose it with heavier subjects such as gun control, women’s reproductive rights, and immigration.

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15 | 1 3 4 0 A R T Aidan Calabria - Mimesis I Digital Photomontage - 95 x 70 cm

Allison M. Low - Journey to Paradise Graphite, Gouache, Pastel, & Acrylic on Watercolour Paper - 40 x 40 cm

Allison M. Low - Flight of the Cicada

Graphite, Gouache, Pastel, & Acrylic on Watercolour Paper - 30 x 30 cm

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Marina Matlina - Summer Flowers Oil on Canvas - 40 x 40 cm

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Magdalena Majstrowicz - Never Too Far

Eleanor Nigretto - Urban Blue

Acrylic & Mixed Media - 39 x 90 cm

Acrylic & Collage with Rusted Found Object & Original Inkjet Print on Hand Stretched Linen Canvas - 64.7 x 44.5 cm

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Sandra Kowalski - Bitcoin (Top) Swipe (Bottom)

Acrylic - 20 x 20 cm each

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Benjamin Issner - Karma PoP

Spraypaint, Wood, & Resin - 120 x 60 cm

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E MI R ‘

R A MOV I C As a self-taught Painter, with a Master degree in Architecture, Ramovic experimented in the last decade with different methods of design, painting and drawing techniques, always questioning the perception concepts behind it. Lead by the inner desire, his main artistic interest is directed to the exploration and discovery of the inner world and its connection and influence on our surrounding and ultimately on ourselves. The intertwined path of the architect and the painter has been paved with his own artistic work, a long-standing commitment to teaching, interdisciplinary artistic-research projects, writing and film making, always pushing his own creativity. His work is an attempt to explore, study and understand the journey to the inner worlds. In search for new dimensions, fragments of emotions, intuition and knowledge. Dancing with the Moon (Left) Introspection (Right) Oil Pastels on Paper - 50 x 70 cm

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Pei Shan Chiang - Sisters, Can We Be Beautiful Together? Oil - 140 x 140 cm

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Marco Zupone - Study of a Woman in Summer (Left) Por trait of Naked Man in Dressing Gown (Right) Ink Oil Pastels & Spatulas on Paper - 30 x 42 cm each

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25 | 1 3 4 0 A R T Kyle Gallaway - Hanging Octoplant Thrown Altered Ceramics with Live Airplant - 12.7 x 12.7 cm

Kyle Gallaway - Hanging Airsquid

Thrown Altered Ceramics with Live Airplant - 17.8 x 10.2 cm

Carol Griffin - Goldfish Oil - 91.4 x 91.4 cm

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Marco Scesa - Interaction I (Top) Verano 1 (Bottom) Acrylic - 50 x 50 cm each

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Sofia Varano - Little Responsibilities Digital: Illustrator & Photoshop - 40 x 40 cm

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Maureen Nathan - Her Shir t Acrylic on Birch Ply Panel - 60 x 85 cm

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Thirty-Third São Paulo Biennial

Frieze London

4-7 October 2018 Frieze London features more than 160 of the world’s leading galleries. View and buy art from over 1,000 of today’s leading artists, from the emerging to the iconic and experience the fair’s critically acclaimed curated sections and Talks programme. One of the few fairs to focus only on contemporary art and living artists.

18-21 October 2018 The International Contemporary Art Fair allows visitors to see modern art, contemporary art and emerging creation on a grand scale - hosted in one of the most iconic settings of the French capital: the Grand Palais. With some 1,500 artists from 25 countries and close to 200 galleries being represented, FIAC is one of the most important events for the international art scene.

Art San Diego

Abu Dhabi Art

Art Basel Miami Beach

7 September - 9 December 2018 The Bienal de São Paulo was initiated in 1951 and is the second oldest art biennial in the world. The biennial serves to bring Brazilian art closer to an international audience, and vice-versa; combining unknown artists with the type of discourse that the international contemporary art world knows and loves.

18-21 October 2018 A contemporary art show in the heart of southern California, Art San Diego will be featuring an international slate of artists and galleries. The show features over 500 leading contemporary artists, museum exhibitions, Art Labs, events, and Art Talks focused on collecting. Now in its tenth year, the four-day event attracts over 15,000 high-net-worth collectors.

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14-17 November 2018 aspx Abu Dhabi Art expands beyond the notion of a traditional art fair, in placing strong emphasis on a diverse public engagement programme, including art installations and exhibitions, talks and events that take place in different locations throughout the year. The culmination of this year-long programme provides an important sales platform for participating galleries to an audience of over 20,000 visitors.

6-9 December 2018 At the nexus of North America and Latin America, Art Basel in Miami Beach presents artworks from across the globe. This year, over 200 of the world’s leading international Modern and contemporary art galleries display artworks by over 4,000 artists. Visitors can find works ranging from editioned pieces by young artists to museumcaliber masterpieces.

Okdoll Kim - The World of Us (Top) Warm Ground (Bottom) Paint Program

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Anke Buchmann - This Moment Will Never Come Back Photographed by Pablo Di Prima Performance, Photography

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Pinkarman (Luca Ribichini) - s/t - Happy Bir thday Rubber & Paperboard - 80 x 80 x 80 cm

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Wayne Fisher - Into the Fold (Top) Morning Reveal (Bottom) Photography - 101.6 x 76.2 cm each



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Amy J. Dyck - Liminal 3 Oil - 45.7 x 60.9 cm

Chahrazed Fekih - Kings Chinese Ink - 72 x 50 cm

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Susumu Matsuura - Por trait Silkscreen on Panel - 175 x 220 cm

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PAINTING IS A POETRY, PRAYER, LONGING, JOY BURSTING, CRY AND A SEARCH Sophia Gunkel - The Wave (Left) Acrylic on Canvas - 80 x 100 cm

Rober t Thacker - Liquidity Acrylic & Mixed Media - 8 x 8 cm

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Orly Shalem -Sailing Acrylic on Canvas - 70 x 100 cm

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in memory of REBECCA


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There are Tears for Things (Left) I Once was What You Were, You will be What I am (Right)

Photography - 29.7 x 42 cm each

“The glow of the approaching sun drew me outside this morning, the view off our balcony with the jetty, glass calm water was breathtaking. It definitely had an effect on Rebecca’s creative mojo.Then I realised it was the same morning, but last week, of her passing. At the moment there are over 50 large post-it notes stuck to the windows with bits of the movie she was co-writing with a man from the Filmmaker’s Guild in Hollywood. The hours of work are displayed, it’s beautiful to see. I can go on about her all day. She was in a process of evolving, mixing it up, changing her Boopse logo, adapting, learning photoshop... Yeah, Rebecca loved it. . When Rebecca and I first met she was editing the 7th and final episode of her documentary about The Great Aussie BBQ. She was a mysterious girl, not many people actually new her real name. She was magic. I feel her art can give more, even after Death. Enjoy her space, you’ll come out of the day enlightened.”

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discover Discover and buy affordable fine art from the comfort of your home. 1340Gallery is a premier online gallery where you will discover an exclusive selection of carefully curated art by top upcoming talent from all over the globe. Works can be bought directly from the website and delivered anywhere in the world.

www.1340gal l er

Bernadette Elizabeth - Toil Photography

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Siyi Ding - Selft Por trait Photography - 12.5 x 12.5 cm

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ALIDA VAN ALMELO 47 | 1 3 4 0 A R T

Coriolis (Left) Unfired Clay - 243.8 x 209.2 x 7.6 cm

Offset Flow (Above) Ceramic, Walnut - 40.6 x 53.8 x 3.2 cm

Almelo’s practice is a reflection on the power of the natural world. The time that Alida puts into creating a piece is as important to them as the time that it exists. Natural occurrences such as the changing position of the sun in the sky alter the work’s appearance and create unique and unrepeatable experiences. Working with unfired clay, Almelo builds site-specific installations, and as the clay dries, it shrinks. The constant movement of the sun and the clay mirror the changes that we see around us daily, and natural properties of clay speak directly to the fluctuating world around us. While using clay, Almelo places trust in the material, knowing that how it reacts will-at its core-speak more perfectly to the concepts of time, movement and transition than anything that Almelo could create entirely alone.

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Isabelle Girollet - Illusion (Left) Photography - 120 x 80 x 2 cm

Nico Nebbia - Rockets (Right) Intentional Camera Movement Photography - 23 x 36 cm

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Matthieu Faur y - Shakespearation Ceramic - 30 cm

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Ilia Chidzey - Catch 22 Mirror, Glass, Acrylic, & Enamel - 95 x 64 cm

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MARIANELA PEREZ G Cr ystal But (Top) Acrylic on Canvas - 91.4 x 91.4 cm

Summer Vibe (Bottom) Acrylic on Canvas - 121.9 x 121.9 cm

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Michael Raffer ty - Not Ever ything is Black and White (Above) Commercial Gloss & Acrylic Paints on Canvas & Wood - 160 x 160 cm

Marisol Valencia - Hybrids (Right) Porcelain & Oxide Steel - 25.4 x 12.7 cm

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ZHIT N E VA Sasha Zhitneva is a sculptor who makes consistently innovative art from the collision of disparate materials and the clash between tradition and modern life. Her most recent work involves the fusion of discarded plastic containers and art glass, which has led to a number of visually stunning, thematically rich series. Among these collections, there is no shortage of striking effects; baffling but fascinating textures (the stuff of countless associations and thought-provoking tangents); and fully realized, utterly self-contained individual pieces. A key idea percolating beneath all of Zhitneva’s work is that all materials exist in a social context, burdened with layers of history, socioeconomic factors, and cultural meaning/associations (including prejudices/ enduring misconceptions), all of which contribute to the way these materials are generally perceived. Indeed, Zhitneva’s work is many things. Above all, though, it is a testament to her advanced technique and singular vision. Memor y Altitude (Left) Sculpture/Mixed Media - 33 x 30.5 x 20.3 cm

Oceans Deep (Right) Sculpture/Mixed Media - 22.9 x 35.6 x 22.9 cm

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OPOKU MENSAH I (Top) Studio Photography - 56 x 84 cm

House Boy (Right) Studio Photography - 46 x 41 cm

In his process Mensah uses memories to unfold stories. He touches on psychotic reality, dreamlike portraitures and moments of discontentment, to engage sense of beauty to his most obscure thoughts. By feeding positive meaning, with the idealized importance of struggle and suffering; he identifies himself through elements such as food that have marked him. By giving a positive meaning to the ideals of fighting and suffering; Opoku Mensah identifies himself through elements, such as the taste, the smell and texture of food. In his path towards inner happiness, his endeavor ascertains warmth and hospitality.

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Simòne Van Der Spuy - Wonder Mixed Media Digital - 46 x 56 cm

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Digital Collage

Marcelo Ramos - Fly I

Digital Collage

Marcelo Ramos - Fly II

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Mark - Clayface Jimmy Digital Giclée - 23 x 23 cm

Mark - Clayface Todd

Digital Giclée - 23 x 23 cm

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MARTYNA DRAB At the Mountain of Knowledge (Top Left) - 21 x 30 cm Depar ture (Bottom Left) - 29.5 x 42 cm The weight of Anger (Right) - 21 x 30 cm Guache, Acrylics, White & Black Ink, & Collage paper

What interests Drab is exploration and the unknown, the moment when something hidden comes out into existence through art and by common work of hand and mind. Through observation and by memorizing experiences Martyna tries to create something that should speak directly into human core and intuition. The openess of the mediums allows Drab to explore shapes, colours and marks so they become intense and solid composition that plays out harmonically or at least denotes something interesting or disturbing.

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Chiar I

Oil on Wood - 45 x 92 cm

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Hava Zilbershtein - No Title (Left) Etching - 25 x 20 cm

Pernille Picherit - Transition (Right) Oil on Linocut - 32 x 48 cm

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Myriam Beltz - Mark 26 Watercolor on Paper - 26 x 18 cm

Megan Hinds - Ver tebratus II Hand cut, Intaglio, Monotype - 15.2 x 20.3 cm

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Terri Froelich - Idra Mixed Media - 121.9 x 121.9 cm

Terri Froelich - Forbidden Mixed Media - 91.4 x 91.4 cm

Aleksandra Wolter - My Woods #15 Polaroid Emulsion Transfer on Canson Moulin du Roy Paper - 26.6 x 9.2 cm

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ARTS Free Arts uses art to restore hope, resiliency and self-esteem in children in Los Angeles ages 4-18 who have experienced abuse, neglect, poverty and/or homelessness.

Free Arts creates a safe environment where children can feel, understand and express their emotions and begin to recover and gain a sense of mastery and empowerment. They pair children with adult mentors who serve as a positive role model with whom the child has a beneficial, rather than traumatic relationship. Their programs take children through a journey of empowerment, focusing on “Process over Product”. This means that art is a tool for restoring self-esteem, resiliency and hope, rather than Free Arts teaching children to produce attractive or technically sound art pieces. Art is used as a process to develop and cultivate leadership skills, self-esteem, resiliency, and a belief in a positive future. Process oriented art includes creating writing, poetry, painting, drawing, or other art. Children who grow up with abuse and poverty many times unwittingly repeat the pat-

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terns of behavior in which they were raised, experiencing mental illness, addiction, abusive relationships, teenage pregnancy and criminal behavior as adults. Most will not go to college and many will never graduate high school, putting their futures at risk. Studies show that engaging in art – dance, music, drawing, painting, writing or other art forms – restores resiliency and self-esteem in children and gives them a chance for a better future. Art has been found to uniquely develop certain areas of the brain in children, particularly critical thinking, cognitive function and other skills needed for a successful future. Free Arts was founded in 1977 to bring art to children in foster homes in order to help them recover from the abuse and trauma they had suffered. Today Free Arts provides creative arts programs to more than 22,000 children in Los Angeles annually. Programs are implemented by expert trained facilitators with the assistance of nearly 200 adult volunteer mentors, who donate more than 14,000 hours every year.

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Leda Theo - Kyoto Kio

Jurgen Pavanello - Prickly Shadow Play

Oil on Canvas - 50 x 70 cm

Digital Photography

Andrew Fearnside - Stone Flower (For Antonio)

Andrew Fearnside - Wanderers

Digital Painting from Artist Made Source Photo - 55.9 x 76.2 cm

Digital Painting from Artist Made Source Photo - 55.9 x 76.2 cm

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Anna Leyland - Formation (Top Left) Acrylic on Canvas - 130 x 130 cm

Anna Leyland - Interweave (Bottom Left) Acrylic on Canvas - 100 x 100 cm

Van den Hende - Killing Fields 2 (Right) Bones & Labels - 150 x 150 cm

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When Memor y Enters, a Midwife as a Metaphor Cleaning Cloths, Glass, & Metal - 340 x 258 cm

Mirre Yayla Seur’s drawings, audio, video and installations evoke questions about the body, but whose body and where it begins and ends are left open. Focussed on the encounter and the shaping factors around us, Mirre aims to investigate the dynamic relation of how she personally, and we as humans, relate to our outside world. Working with a vast array of materials from glass to metal, sand to textile Mirre blends together fragments that both reflect and absorb the residual traces of our very being.

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Sophie Corso - Run, Blue Spot, and Man in Red Pine Wood, Acrylic, Metal, Polyester Fabric, Cotton, & Graphite on Paper - 80 x 50 cm, 70 x 70 cm, 80 x 50 cm


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Glen Gauthier - Downward Thrust Collage on Book Covers - 53.3 x 40.6

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75 | 1 3 4 0 A R T Max Savold - Almost Most Mixed Media Collage - 30.5 x 30.5 cm

Max Savold - Blue Red Tire Mixed Media Collage - 30.5 x 30.5 cm

Anders Post - Alpine Oil on Canvas - 150 x 100 cm

Ar t Green - Brothers on the Farm Oil on Panel - 30.5 x 45.7 cm

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1 3 4 0 A RT M A G A Z I N E 2018 // Q4

JOIN US Are you an artist who wants to be featured in our next issue or on our social media? Apply on our website, and who knows, maybe we’ll see you next time. To sell your work, you can also check out our curated platform at

1340 ART Magazine Q4 // 2018  

1340 ART Magazine Q4 // 2018

1340 ART Magazine Q4 // 2018  

1340 ART Magazine Q4 // 2018