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ABOUT THE MAGAZINE 44 DEGREES is an online magazine and dedicated to promoting Israeli artists. The magazine deals with the field of contemporary art. Present digital media artists, painters, sculptors and curators. Each magazine will discuss a different Issue. To contact each artist, click on his site, or write to his email. 

 The issue of the magazine – SO ABSTRECT In this issue I am pleased to present a special guest artist : Laurel Holloman Her successful series of European exhibitions, after her first two solo art shows last year in Paris, France, and in 2013 Venice Biennale, Italy, German soil, in the heart of Berlin. Wassily Kandinsky. He drew geometric abstract paintings that caught emotional message. At the beginning of the 20th century, he was the leader of the movement and greatly influenced. The art movement that directly opened the door to abstraction in the 20th century, Pablo Picasso made his first cubist paintings. The

44 DEGREES online art Magazine was founded by the artist

TAMMY MIKE LAUFER She created the concept and she's also the Editor \ Designer Art director \ Curator \ Producer \ Director of the web site.

All rights reserved © 2013 The official website of the magazine:

Art on the front of the magazine by Tammy Mike Laufer


Special guest artist






































































• ‫‏‬LAUREL HOLLOMAN As an artist, the act of painting is my initial subject, I never start with a theoretical concept. It is the “being” and the desire to reclaim the pictorial space of the canvas that drives my paintings. Free Falling evolved through repetitious bold brushstrokes and lush, direct, resplendent color. In the largest murals loops emerge and disappear in an organic unconscious pattern. They are colored with silver and gold metallics and resins that bring out each stroke and create tactile illuminations that float on the canvas. The purpose is to create free floating space on the canvas defying any recognizable familiar imagery. The smaller paintings are layered with a delicate balance of blending and purposeful brushwork. Some pieces are blended to create dreamlike images and others flirt with landscape abstraction without ever truly giving over. My intention here is to create moments and memories without committing to any particular form. In this way I can follow where the paintings lead me while painting in just the impulse of a singular brushstroke. My intention is to shine light back on the audience so every painting is free to be interpreted by the individual.

reD raIN 2012 oil on canvas 182x122 cm CĹ“ur libre Collection, Paris

LeT Me faLL 2012 olio su tela / oil on canvas 122x183 cm free falling Collection, venice

• HAGIT COLB I am an architect and jewelry designer Based in Jerusalem, Israel. My design style, perspective and inspiration all stem from my Education and experience in architecture but my way of materializing Thoughts, ideas and creativity is through Jewelry design. I developed my own aesthetics by testing the boundaries of Jewelry design, balancing on the edge of Abstraction. My intention is to create designs with clean, sophisticated lines, Inspired By the spirit of Urban.

• RAMI ATER Ironwork sculptures as a materialization of introspection. My objects are conceived as an internal visual image, drawn as rough sketches and words, and then materialized into a three-dimensional artwork. The material with which I chooses to work is raw industrial iron that I processes using various techniques, reconfiguring it, enabling its semantic transformation in terms of the object's relation to its environment - injecting it with additional content and meanings. My work process is an inner journey of liberation and a shift from the internal image to a tangible sculptural object. Transitioning outwards from an introspective gaze, my sculptural work focuses on its intrinsic aesthetic dimension - proportions and relation to the actual space it occupies. These works are a part of my recent solo exhibition in Jerusalem theater gallery – Insights - which displays three figurative series of works. All three series share a common base material - iron sheets - some flat and some curved while the texture of the material and its processing technique are intuitively decided upon, on the fly, throughout the execution stage. About me: Rami Ater, born 1960, based in Tel Aviv, Israel. A member of the Israel's Professional Visual Artists Association.

• OSNAT BELKIND SCHEPS create artful experience, kinetic and multi sensorial. combines lights, Mechanics and sound. trivial recycled materials, change their designation paradoxically in the works. In my art I discuss typical issues of our generation. Following human evolution and technological development. Changes in gender balance. Technology - nature Technology - mysticism. Art and Economics. file no 1-My work is called Nature Technology Nature- engaged the complicated dialogue that requires a technology that pollutes nature major contributor to global warming, is fed at the expense of nature, On the other side it provides solutions and applications to upgrade Nature recycling, resource use alternative nature for the environment. existence with technological media should be done in a controlled, cautious, ba lanced and harmonious. Facebook

This work deals with the various interactions, while striving for harmony. Flexible and dynamic, essential to finding balance and harmony. Work presented at the Lighthouse gallery-Jaffa and Hankin Design Gallery, Holon.

Pinball your life Work engaged with intersections and choices in a life journey . materials-prspex, stainless steel, plumbing hosses, lights,Mechanical mechanism, SOUND

• MEGI ROME The metronome installation The installation below is an image built construction of a metronome at 2.10 meters. Description of the three elements are an integral part of my life as an artist: painting, music and a given frame of a rigid dictated rhythm against freedom. A metronome dictating precise rhythm and permits no freedom in changing the tempo while playing. All 4 sides sorrounded by mixed technique painting, sculptural texture. Each side is an image of rhythm: an analog clock, an hourglass and symbols and concepts of the music world. From the installation we hear a recording of repetitive sequence of a Bach prelude with my playing of piano, when metronome dictating the tempo is a part of the recording. Near the end of my playing I go out of the rhythmic frame of the metronome as well as of painting, in which the threads of the colors go out of the painting and in the future they will create a complete fabric of life of their own..

Made of wood, layers of putty and acrylic size: 2.10m'x100x100x100cm

• TAMMY MIKE LAUFER So Abstract! All the works are digital. Small series or One Piece. Can be Printed in any size. My works are similar to mental puzzles, where you can travel from one point to another by analyzing a picture’s symbolic objects. there is always something for the observer to discover. I never force my vision or push my philosophical opinion on the viewers each and every one, can give theirs philosophy to my creation. My art is surreal reality, all in my head. The viewer take a journey to places just as real as those you might find in this reality. When I start working on a new scene, it's like enter to a fantasy dream. like starting your new only virtual world. “Everything is possible” and in the majority of my works I am trying to combine visual realities, with subconscious emotions and philosophical thoughts. I create my virtual world, with 3d software and 2d paint software. Using combinations of renderings, lightings, textures and shapes.

• ‫‏‬HAGGAI BEN-YEHUDA I have a craving for unusual sights revealed by a building or a street corner. I wander around a lot, usually in the early hours when the first light touches the wall, a tree or a street. In the morning, the wall, for example, go through a color metamorphose and begins to shine. The urge to photograph and carrying a camera on a daily basis, gives me a sense of freedom and freedom is like carrying bombs on the back, that I release while shooting - then something happens, different and detached from everyday life and it's like a new space opens. The reality I photograph is ordinary reality, but by looking from a different point, revealed to me while shooting, there is another reality. Recurring motifs in pictures I take, are geometric shapes or structures in the urban space. Through focusing on part of a structure and not on the whole, new aspects of reality are observed and unexpected relations between details are seen. That way the structure loses its primary functionality. Expropriation of the banal view and the freshness of a new look, invigorate the routine of the street or a building, and give the objects meanings that require opening up to potentials of the look and the seen that extend the dialogue between them.

• ORIT KERET Somewhere, maybe on a movie, I ran into the phrase : "a galaxy on a key holder". A whole world in a drop of water. Our small blue planet is really fascinating when you observe, when you look beyond things and into them. In that Series of Photos I shoot closely into a most common object - a Eucalyptus tree, eaten by a bug. Photos where slightly edited in Picasa until I could see beyond and into material. A little about myself could be revealed in my blog

• DAFNA SARTIEL In my work I explore the way artistic language, technique and materials used, affect the way we perceive familiar representations. I am drawn to examine the interrelations created between various kinds of contemporary images and the most traditional laborious techniques such as engraving, etching or Lino printmaking. In my photography work, I seek to capture lyrical abstract compositions from the most trivial and insignificant objects and scenes in daily life. TV glitches captured from the broadcast of "The big brother" 2010

• ELIYA COHEN My artistic act emerges from a desire to express a feeling or a particular state of consciousness, sometimes starting with a random thought or word going through my mind. At the base of my practice is the search for a physical experience of weight, of gliding, of blurring, of sinking or of waiting. I am in search of the borders and definition of these amorphous situations, these physical states we experience. My creation process is continuous and prolonged. It begins with observation and the collection of images and materials, usually followed by a long period of contemplation, until the creation of the object. I work by intuition, and thus many times the choices I make become clear to me only in retrospect. I work in a number of different media: sculpture, video, photography and drawing. These elements come together to create a unified installation. The installation itself is a central aspect of my work process. The space is part of the art object, and interaction of the object in the space is what creates the complete statement, which can sometimes be surprising. The viewer is invited to move through the space, experience the piece from different points of view, merging into the work. In the coming years, I am interested in finding challenging and architecturally enticing spaces, in which the interaction between the sculpture, space, and viewer is intensified. I am looking to create a dynamic encounter which produces movement and allows the work to be experienced from different perspectives. I believe that art expands the consciousness of both artist and viewer, and allows us to touch upon that which is not always definable or understandable. Art demands that we face the elusive, those things which are blurred, inconclusive, everchanging. I would like to continue to move forward in pursuit of the challenges which art provides and inspires.

“Pathways”-black paper, M.D.F wood, Aluminum pole, green clay, Variable size, 2013

“Untitled”- Plexiglas, Variable size, 2014

”all here”-Plexiglas, black marker on paper, variable size, 2014

• ANAT BELKIND‫‏‬ In my photographs the composition presents themes of colors, light and shadow, order and disorder in unexpected settings, revealing the natural beauty underlying Nature's chaos The portfolio strives to frame colors, geometric patterns and textures, into stand-alone images, sometimes reframing these images beyond their original context and creating an abstract scene.

• ASHER GIBEL To be fair, I must admit , I had no experience on the subject of abstract art What helped me anyway , is the experience I have gained during 44 years of photography and 16-years of processing digital photos. Most of the photos provided here , were made on a small table, with natural window lighting through window shutters. On the table were objects of every day. I did not bother about arrangement and composition. I photographed as they were originally on the table; A bowl of seasonal fruit , apple, lemon, orange , and banana, white cup and scattered newspapers , The last step of image processing , working in layers , with each layer represents another photo. To change tone and color, I adjusted the transparency of some of the layers and added adjustment layers until I got the desired result.

• ADI BEZALEL my interest as an artist is to explore my close environment in order to phrase a statement about our existence in the phenomenon world. this research is trough an ordinary objects, body parts, landscapes or outdoor events that surrounds me. my purpose is asking questions and leave an associative place for the viewer to find his own existence in the works. when I choose to combine objects in my works, I pick objects that I lived with for a while. objects I can feel in a different kinds of levels- this photographs might appear to look like studio photography.

grass, 100*70

untitled, 50*50

purple sheet, 100*70cm

• OFER BLANC Digital Photography These photos I use a long exposure to create a balance and equilibrium between nature and the urban landscape. Visual Dialog created to show the invasion of the city green areas are essential for the existence of human and natural destruction offending the delicate chain of life which exists alongside.

• ‫‏‬IRIT YATZIV Color fascinates me. I consider my work as an endless juxtaposition of color on canvas or in a grid. Color is the central motif in both the free-hand expressive works and other techniques. My collages produce their own syntax by deconstructing and reconstructing color and contents; fusing craft, art, design, fashion, and communication; inverting hierarchies; and questioning the relationship between the political and the visual. The materials are taken from the visible language that inundates our lives. They generate an oscillating, vibrating spectrum between fragmentation and harmony, and tonality and atonality. I employ traditional aesthetic values of space and color to capture, discipline and process the myriad images around us. Garments and paper cuttings, for example, shed their habitual meaning and assume a new one. Figures, advertisements, and words function as paint, and interblend to form a personal expression whereby color is the most conspicuous means to articulate the artist's inner world. My goal is to bridge two opposing approaches - one that seeks to express the artist's emotional-impulsive inner vision, and the other that reflects our culture and changing social values. In the viewing experience too, I combine two disparate circles: everyday life and art.

Collage, Digital printing – 100 cm X 140 cm -Red Monochrome

Collage on paper – 42 cm X 59 cm -Earthquake

Collage on paper 21 cm X 30 cm - Yellow Square

Red Circle – Acrylic on canvas – 145 cm X 205 cm

• BOUCA K. GRUNFELD I collect materials from my urban environment with various qualities of texture, shape and volume such as scraps of metal, wood and layered sheaths of paper from street billboards. The structural association of these materials forms the foundation for an assemblage which is completed by the process of painting. The dialogue between the textured, three dimensional components and the realm of painting, creates an ambivalent space with an inherent aesthetic presence in its own right. The language employed resounds between elements used in the abstract discourse of art, and the revelation of images / points of reference suggesting locations / structures / landscapes.

No title/77X78 cm/ 2014 / acrylic &industrial colours on laminate board, wood, piece of fabric.

No title /75x97.5 cm /2014/Assembalge of acrylic on wooden parts+fabric.

No title/59x70.5/ 2014/ strips of wood & acrylic ,tar on mazonit OSB, Plexiglas.

• YAEL AVNI ESHCHAR From a young age I learned to paint, the art world has always been a place of freedom and release. Things remain in the subconscious, feel them senses and no words to express them. I found myself in front of a blank canvas. Very concentrated express perfect composition that expresses my feelings, or the feeling I got music, near and far environs. After engaging depth and back to the same job several times, I could be free of certain feelings when they smile at me on the canvas. Abstract painting is an adventure and research for me, even when I combine it realistically. Generally for me painting is abstract - to know to observe and dismantle the objects.


67=100x80 cm

y.a.e=140x140 cm

• JASMINE RONEL Woman, flower, abstraction Three pivotal images in my oeuvre entwined to form the statement I strive to put forth each time anew. I am a woman, I am a flower, I am an abstraction. These images constantly support and rely on one another. The abstract paintings are typified by a flower's architecture, the flower paintings are on the verge of abstraction, and the women's paintings sprout with stains. My mode of work includes the use of diverse and complex techniques, spanning a wide range of materials and media: photography, computer processing, printing spraying, high-gloss enamel paints, acrylics, glass paints, watercolors,oils, felt-tip pens and pencils. The canvas is processed in stages, via cumulated layers that maintain intricate interrelations of construction and destruction, mending and erasing. Whether the emerging image has ascribed value or not, the painting's true theme is in fact painting. The work transpires as a private outcome of the path towards that particular painting: the trail of its drippings, the mass of its strata and the depth of its insights.

Margalith 2009, mixed media on tarpaulin , 119x80 cm

Strong Emotions 2009, Mix media on canvas, 100x160 cm

Blooming Abstract 2009, mixed media on canvas, 51x70 cm

Harduf 2009, mixed media on canvas, 100x70 cm

• SVETLANA BELENKIN Abstract art for me is opportunity for subconsciousness of the artist to splash out emotions directly on an art material, without considering of concepts and images. That is to have conversation between subconsciousness of the artist and subconsciousness of the viewer without the translation. Abstract art is close to music, it can't be translated into language of words...

"Warm rain" , 70*50 cm, acrylic on canvas

"Movement", 80*60 cm, acrylic on canvas

"Dizziness" , 80*60 cm, acrylic on canvas

"Break", 80*100 cm, acrylic on canvas

• HAVIV HAUSPETER Painter and Photographer. My painting is a way and language of expressing my inner world. For me, this is an intuitive way in which I share my world of imagination and expresses it in the reflection of movement and colors as crystallization and expression in my abstract style paintings. The painting technique is based on drawing layers and using various means during the work. The technique involves physical movement and creates a mixture of colors and texture on the canvas which is characterized by a very colorful result. " There is always a picture or image in my head that I want to express . The Creation process happens and held up to perfection image to the moment I have no more to add, is all in motion and color ". I am not a formal art graduate. The painting technique and style formed and continues to develop from self-experience and study, while painting.

During 2014 I am expected to exhibit my art work of paintings at "AGORA" gallery Contemporary Art in New York.


• ORLY SHALEM Painting is a poem, a thrust of joy, a cry, a craving, a quest, a longing‌ Painting is a need to express myself with colors and shapes where words are lacking or are not enough. My paintings are mainly abstract, painted with a variety of tools and techniques. I believe that shapes and colors are a universal language that touches everyone. The process of creation is an unplanned journey into the depths of my soul. It starts from my need to express myself and spirals to the point where I feel the painting is complete. I enjoy hearing about how my paintings are experienced and seen by their spectators. I am often surprised and enriched by the diverse reactions and interpretations by viewers. My goal as an artist is to touch and excite people beyond understanding. My muse: Little moments of excitement and grace, and all of the beauty surrounding us.

CREATION, Acrylic on canvas 100 _100 cm

GENESIS, Acrylic on canvas 100 _100 cm

CROWDING, Acrylic on canvas 70 _100 cm

RED ABSTRACT, Acrylic on canvas 100 _100 cm

• ALEXANDER GANELIN two separated series. The first one in mixed technique called “In the Artist's Studio” and was one of the first works that I made in Israel after leaving Moscow in the early 90' and represent the materials I used to work in my studio at Taganka in Moscow: old paint, old news papers with odd titles to dry the brushes... The second series is made in oil on canvas technique and represents new stage in my art, new paint, new style.

• ALEXEY ADONIN Born in Belarus. I chose imagination over all other rules of artistic logic, my paintings begin with a single line and then take on vivid lives of their own as landscapes in which viewers can lose themselves. I strive to create works that allow for freeform exploration in an abstract universe without the hard constraints of realism. Rather than beginning with a preconceived idea of a painting's final form, the soundtracks I choose while creating each piece determine the end results, allowing for freeform evolution. I don’t really know in what direction it will go. The process is largely-intuitive – a voyage of discovery – which is how I like it.

“When The Night Dissolves” (oil on canvas/100x80cm)

“Crystal Lake” (oil on canvas/100x80cm)

“Into The Blue” (oil on canvas/80x100cm)

“Distant White” (oil on canvas/80x100cm)

• DANIEL LEWITT Throughout my work I have found myself getting increasingly interested in creating various forms of abstraction and creating a dialogue between abstract painting and photography. In this work I used the technique of peeled photography. On top of a Printed image I used a scalpel knife to mark the shapes that I wanted to leave on the print and then peeled out the parts around them -a sculptural act of carving the photograph. This technique creates a new image made up of photographic fragments and white surfaces of the paper. This technique allows me to produce from a figurative photograph an abstract image. The original photo I use is essentially a white canvas from which I create the new image with the scalpel. The work process is not the action of adding elements like the Collage technique, rather it is subtracting them as the Décollage technique. The peeling technique does not change, however the way I use it varies from one work of art to another. The photograph which is the substrate work is very important for me. I shoot images that will “stimulate” me. Places in which I have a personal relationship with and which are meaningful to mel; I found myself responding emotionally to the image. The beach that was photographed during a holiday abroad,The bougainvillea plant growing outside my house which is an icon for my deceased grandfather, the swing outside the house where I grew up, and a self-portrait.

Peeled Photogrphy New York-55*80


Swing- 95*60

Beach- 85*60

• ‫‏‬MARY KUSHILEVICH I'm a young, self-taught artist. Since I can remember myself, I always loved to draw and paint and I could drift in the world of creation for hours. I like to experiment different styles of painting and enjoy the surprising outcome. Inspirations come from anything and everything. Nature can make me feel like a little girl and I try to express those exciting emotions with vivid colors and intensive brushstrokes.

African sun - 80x80 cm Acrylic on canvas

Tree in the wind- 80x 40, acrylic on canvas

• SHOSH GIVON My works make use of photography, etching and screen printing with different materials as a base. A significant part of my work is monotypes – variations of a single image as well as small series of etchings. I treat different images with different textures and shapes pulled from my visual conscience which is influenced by the surroundings in which I flourished and live. The works are characterized by dense textures – carpets which flicker and assimilate different images. In these works the carpet- embroidery patterns appears as the work itself.

Untitled, screen print on paper, monotype, 70X100 cm

Untitled, etching, 11 prints, 40X60 cm

Untitled, screen print on paper, monotype, 70X100 cm

• ‫‏‬UDI SALMANOVICH QUEEN is part of series of works name "Anti Dogmtic Slot Machines" The size of the Canvass is the size of my circumference, In this painting, as in the rest of the series, I use a selection of images and materials: Nail polish, aluminum and graphite colors. Painting is the medium which allows me to describe the reality as I see it, providing the correct esthetic language tool through which I can create a changing reality experience and perception of the viewer. The challenge in discovering new ways to express nature and the way human culture is intergraded within it, drives me to explore deep into the nature of Art. I live in a modern consuming economy, and while analyzers plan and finance technologies that change the nature and the reality of our planet in a way that even the weather, the chemistry and the biology of the oceans are put in danger I replace the colors of the earth with the color of money to emphasize that human survival is depending on restraining our behavior. The human struggle with nature to survive has turned into a struggle of nature to survive the human race. My painting process is layered and continuous. While creating each master piece, layering images one on top of the other, I create an object in which the depth is the result of time and history is defined in the texture instead of the optical illusion of perspective.


CREDIT Nail varnish Pencil and Metal on Canvas 220/170Cm

• ‫‏‬ORIT TASHMAN Fields of Touch I see feelings in three dimensions. I touch them with my eyes, open or closed. There are two main aspects in my work: One- it’s a sensation that passes by- intimate, sensual, erotic, and sometimes also pulseless. Pure sexual energy suddenly becomes platonic, calculated and so forth. The second aspect -a chronological history of layers. My works undergo a long process of changes, they are created layer on layer, one over another. My hands caress the layer, which in a minute turns to history, they separate from it and go on. Bury the layers just like the present a moment ago got buried in the past… And what is left for the viewer- it’s a kind of an episode, a frozen present. A present that I froze for my pleasure.

Size: 150x200 cm Red, Green, Yellow, and Gray fields - relief, mix media, paper, oil. Blue field – relief, fabric.

• LILY DAVID I want my art to touch and stimulate the viewers to observe inside their souls and question themselves. My art reflects my own belief and my own truth. It deals with universal subjects, facing universal dilemmas in a unique way. I dig beneath the surface of the visually complex works to expose their emotional and thematic foundations. I explore the tactile qualities of paper to reveal the dynamic possibilities within its rips and tears, the hidden tones and moods folded within its multiple levels. Thematically, there is the suggestion of psychological pain in these works, but also of hope, as the revealed layers unfold to show a multitude of colors, textures and meanings. This way is new, untraditional, and non-conservative which enables my artwork to stand out in the art world.

• MAYA DUNSKY is a multidisciplinary artist, a painter, Butoh dancer, and choreographer "Sound Whisper" series includes 40 oil paintings on canvas, characterized by hiss like repetitive abstract motives, lines and amorphous shapes. The content is weaved like from many transparent layers, one on top of each other, and forms itself into harmonious mass, contains inner motion and gentle frequencies. As a colorist her main inspiration is Nature phenomenon, both for technical Use of color and for understanding the line and the spot as integrative essences. In her art works there is a tension between "identified" to abstract and between endless charged spaces to defined matter. An abstract atmosphere is formed free of a "story", even in the presence of familiar objects. Maya creates and exhibit her art works in Israel & abroad, Her art works are found in museums & privet collection in Israel, New-York, Tokyo, Paris, Basel and Berlin. She lived, studied and created in Japan for 6 years. These days she lives and creates in Zicron Yaacov, Israel

Images from the series "sound Whisper" 125x45x5 cm.Oil on canvas

• LEAH HARPAZ In the painting of Abstract art I still felt a sense of adventure and discovery search. My ambition in painting is to reach the point where I delete words, narrative narratives trash, dive into the depths of the soul, there are hidden all the myths, if my personal or collective and paint the internal events that can not be described in words.

Monochromatic. Acrylic on carton. Size: 50x35 cm The free flow. Acrylic on canvas. Size: 50x35 cm

• IRIS DEBY The artistic making focuses on abstract, minimalistic and materialistic paintings that explore the boundary between two-dimensional and threedimensional spaces through an examination of the spectrum that lies between post minimalist and expressionistic art. The paintings rely on modernist traditions while at the same time constantly challenging them, thus forming a discourse on abstract expression through the monochromatic of primary colors. These parts of the paintings are made of expressive textures that explore the various parts of the painting, while at the same time creating an interaction between them –occasionally in the form of flat textures or alternately, in the form of relief – interacting in the same pictorial space as separate spaces, meeting against their own will. The interaction between the various components of the work, creates a process of change which takes place in an empty space – a "void" – and activates it as part of the image and the mass. The works conceptualize this same "endlessness", while the presence of the observer and his imagination trigger the work, so as to complement it. each part of the work struggles to express itself and to establish its presence within the boundaries of the whole in which it exists. The discourse being formed in the work, derived out of the artistic language creates a conflict between various components, expressing a sensual and emotional world that is based on observance and relies on insights from the realm of philosophy and additionally, from the world of the Jewish Kaballah. Facebook

Mixed technique on canvas (acrylic and salt) , 2012, 25X20

Wrapper1 , Mixed technique on canvas, 2013, 45X35

Mixed technique on canvas (acrylic and salt) , 2008-9, 110X240

• YNIN SHILLO I work laterally. In all the moments of my life I try to develop an awareness of sharpening my thinking, logic, vision, hearing, etc. , increasing my sensitivity. Consciously I am focusing on unraveling the unwanted synaptic connections and creating beneficial synaptic connections, in the belief that few of high quality synaptic connections will make me a "Deliberate machine". These measures are encoded to the confluence of the practical artistic practice into self release and entering a sensory mode, while searching for the initial accuracy and balance between all the organs of the doing. I use this creative process because I believe that the artist and his artwork are one.

• KATY KOLOMIEVSKY "Self-taught, painting as part of dealing with the disease of depression. The painting time became a daily activity for me. My creative techniques have come from looking at other artists work. Teaching myself. Key to my works are "color", "woman". In my painting I look for what cant see and feel alive. Being a woman, seeing colors, looking for the unique, the opposite is normal and acceptable. Trying to draw a picture and not "Shoot" the environment. Painting for me is a statement - "Its me and I

Cow-acrilic on canvas 50/50

Abir-70/100 Pastel on paper

Heart-70/100-Pastel on paper

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'SO ABSTRACT' the online art magazine 44 DEGREES  

The new issue – 'SO ABSTRACT' of the online art magazine 44 DEGREES and it free to view. In this issue, we are happy to host the American ab...

'SO ABSTRACT' the online art magazine 44 DEGREES  

The new issue – 'SO ABSTRACT' of the online art magazine 44 DEGREES and it free to view. In this issue, we are happy to host the American ab...

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