Art Basel / New Year Edition 2025

E D I T O R ' S L E T T E R

Dear Readers,

As we step into the new year, we are thrilled to present the 100-page milestone of our 7th Edition an achievement made possible by your continued support We are deeply grateful to have you with us for another inspiring year

This special Art Basel / New Year Edition holds profound significance for us, not only as a celebration of creativity but also as a testament to resilience. Its release was delayed due to the 2025 Southern California wildfires, a tragedy that involved some of our California-based team members, including myself

The devastation left behind loss, sorrow, and uncertainty, yet amidst the ashes, we found something powerful a renewed sense of unity and strength within our creative community In times of hardship, art becomes more than expression; it becomes a source of healing, a bridge between despair and hope

We are honored to feature in ART E$TATE Magazine an exclusive interview with master artist Darrell Kern, whose home in Altadena, along with a lifetime of paintings, was lost to the wildfires Each of those works carried years of dedication, passion, and vision Yet, we believe that with the encouragement of our readers, Darrell will find new inspiration, creating pieces that are even more extraordinary and deeply expressive.

To all the artists and creatives affected by this tragedy, we stand with you. May this new year bring renewed hope, fresh perspectives, and the courage to transform loss into breathtaking new beginnings

We are incredibly proud to present the cover story of this edition, featuring Sir Daniel Winn an internationally acclaimed blue-chip artist, esteemed fine-art curator, award-winning entrepreneur, and highly respected philanthropist This special feature delves into his profound artistic philosophy of Existential Surrealism

Additionally, we are honored to showcase an exclusive interview on the world premiere of ECTROPY: Chaos to Order (2024), a visionary short film by the talented Hollywood directors and writers Jordan Schulz and Andrew Creme, which explores the depths of Existential Surrealism in cinematic form

Daria Rusakova

The 7th New Year Edition stands out for its in-depth exploration of diverse directions in fine art, delving into its influences, trends, and the evolving techniques, innovations, and concepts that define artists worldwide.

To present a clearer and more precise view of the modern art market, we have included insightful reviews from international art fairs, contributed by curators from different countries Their expertise has also played a key role in shaping the Editor’s Choice selection of artworks for this edition We have also uncovered some emerging talents in the art world and are excited to introduce you to a vibrant new wave of artwork by young artists from around the globe

We hope this issue inspires you, offering fresh perspectives and exciting new discoveries

S I R D A N I E L W I N N

INTERVIEW BY

DARIA RUSAKOVA

PHOTO CREDIT:

LIANA GRIGORYAN

SIR DANIEL WINN: ECTROPY

Sir Daniel K. Winn is an internationally recognized blue-chip artist, fine-art curator, awarded entrepreneur, and highly respected philanthropist.

In recognition of his direct support to humanitarian causes, having directly assisted in raising millions dollars for non-profit aid in the United States and Asia, Winn was honored the prestigious title of “Sir” when knighted in 2018 under the Princely House of Schaumburg-Lippe-Nachod – one of only five recipients of the title in the history of the royal family As a child refugee to the United States from Vietnam, Winn excelled in academics while at the same time supporting his younger sibling, allowing his parents to earn a living. He went on to study medicine; but during his study of reconstructive surgery at UCI medical school, he broke from family expectations and set out to pursue a life in the world of art. He went on to work with a number of artists, elevating them to blue-chip museum caliber, in addition to developing his own artistic philosophy, "Existential Surrealism."

Winn’s work has since been featured at esteemed exhibitions worldwide. Among many other distinctions, he is the CEO and curator of Masterpiece Publishing, Inc., and Founder of Winn Slavin Fine Art, one of the most prestigious art galleries in Beverly Hills. In 2019, the NEST Foundation in Hollywood also awarded Daniel Winn the “Philanthropic Artist of the Year.”

In this exclusive interview, we continue our exploration of Sir Daniel’s creative journey, focusing on his short film Ectropy, inspired by his philosophy of Existential Surrealism In this conversation, we dive into the process of making a film through the eyes of an artist. Sir Daniel opens up about the inspiration behind the film, the challenges of creating art without dialogue, and shares his insights on the premiere experience, as well as his future plans for collaboration between fine art and film.

PHOTO CREDIT: JAMES CANT

Sir Daniel, I was fortunate enough to be one of the first to see Ectropy a new short film inspired by your philosophy of Existential Surrealism at the Reno Tahoe International Art Show. I was deeply impressed by what I saw. Congratulations on such an outstanding achievement! Could you share the backstory behind the making of this film and what initially inspired you?

What inspired me about this film is my philosophy of Existential Surrealism It explores the cycle of life existence, purpose, and the meaning of life I wanted to create a film that visually conveys these concepts aligned with the themes in my paintings and sculptures in order to help audiences better understand universal truths.

Ectropy is part of a trilogy representing birth, life, and transformation. It serves as an analogy for birth and is the first installment The second in the series, Creation, explores life and was completed the year before The final film, Entropy, will focus on rebirth and the cyclical nature of existence Together, they aim to provide viewers insight into these universal truths

Were there specific pieces of art you created that directly inspired Ectropy? Could you tell us more about their concepts?

Yes, the monumental sculpture Gaia was a key inspiration Representing Mother Earth, it was first sculpted in clay and later transformed into bronze using the lost-wax process The creation of Gaia is featured in Ectropy, and it was unveiled on Rodeo Drive in Beverly Hills during the holidays, where it was seen by thousands of visitors.

The concept of Mother Earth in this context symbolizes the explosion of the universe and the creation of life on the planet The meaning of Gaia is left to the interpretation of viewers, influenced by their experiences, knowledge, and studies in philosophy, math, and geology

This is the second short film I’ve seen that explores your philosophy; the first was Creation. If you were to compare these two projects, what were the key differences in their creation process and in your experience working on them?

The two films are deeply connected yet distinct Creation was supposed to be the second installment but was filmed first. Ectropy, as the first in the trilogy, represents the birth and Big Bang-like creation of the universe. Each film stands alone as an individual story, but watching them in sequence Ectropy, Creation, and later, Entropy will provide a deeper understanding of the universal truths I’m attempting to convey

Since Ectropy doesn’t include any dialogue, did you find it challenging to film? How did you manage to express the artist’s emotions and creative struggles without words?

I wanted all the films in the trilogy to have no dialogue because verbal language is often insufficient to convey deep emotional and spiritual meanings My goal for audiences worldwide, regardless of language or culture, was to comprehend and feel the film’s message through visual storytelling

It was challenging and ambitious, but the director, Jordan Schulz, captured the emotions and narrative beautifully through his creative style. I feel that the story communicates in a way that everyone can interpret it based on their own experience and understanding of what they want to take from the film I feel the work expressed my emotions and creative struggle thoroughly without any dialogue

What were some of the most interesting or significant moments for you during the making of Ectropy?

One fascinating aspect was how the film was shot in reverse To show the character aging from young to old, we filmed the ending scenes first while I had the full beard The opening scenes, where I appear younger and beardless, were shot last.

Another challenge was working with CGI. I had to imagine and react to things like caves or walls that weren’t physically there, which pushed me to adapt as an actor Also, the set itself was an intricately constructed cave, and there were 30 people standing around while I sat inside It was a surrealistic experience

Acting is a form of storytelling aimed at conveying a message to the audience. What message did you hope to communicate through Ectropy, both through your art and your performance?

Through my art, I feel it communicates to the viewer in whatever language they speak In essence, it’s my spirit that I put into my artwork The same applies for the performance My goal was to feel as an artist and to convey my philosophy through my emotions I hope the audience will feel those emotions. My message is to ensure my visual language in my paintings and sculptures corresponds with my performance and that it resonates with the audience’s own experiences

SIR DANIEL WINN FROM ECTROPY THE FILM

I was honored to attend the world premiere of Ectropy at the Culver Theatre, and the turnout was incredible! How did the premiere go for you? What were some of your favorite reviews or reactions to the film?

The premiere was more than I could have asked for. The red carpet, a full house, and media presence made it feel like an A-list Hollywood premiere. I was overwhelmed, proud, and very emotional all at once

My favorite part was the Q&A session afterward The audience’s questions and comments showed me they were truly invested in the film Each person took away something different, which was exactly what I had hoped for. Hearing their interpretations and seeing their reactions was incredibly fulfilling.

What are your future plans for collaborations between fine arts and the film industry?

In 2025, I’ll be focusing on a feature film based on my memoir, covering my experiences from ages 6 to 9 in Vietnam It explores my relationships with my grandmother, father, and birthmother, and how I escaped Vietnam on the last day before the end of the war. It’s a powerful film that will share why I am the way I am and why I feel the way I do in terms of my philosophy and my artwork

The film will coincide with the 50th anniversary of the end of the war in Vietnam and the 30th anniversary of normalization of U S –Vietnam diplomatic relations. My hope is that it will help provide healing and understanding for Vietnamese, Vietnamese-Americans, veterans, and others affected by war worldwide.

Finally, what advice would you give to young, aspiring artists and creatives who are going through challenging times in their careers or personal lives?

Express your experiences through your art, whether it’s painting, sculpture, performance, or any other form Art allows you to release your inner subconscious and share your truth with the world I feel that sharing your experience can be a cathartic way to heal. That's what I've done. My advice to artists is to try to embrace both the negative and the positive and share it with the world. Extremes are part of life, like the yin and the yang. There is no bitter without the sweet and no light without darkness I also feel the more sour the taste, the sweeter the victory when you do reach it Don't be discouraged, fulfill your dreams, and never give up

E C T R O P Y E C T R O P Y S H O R T F I L M S H O R T F I L M

B Y J O R D A N S C H U L Z

A N D A N D R E W C R E M E SIR DANIEL WINN AND VIVIENNE LUCILLE FROM ECTROPY THE FILM

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Jordan, Andrew, as a big fan of your work, it’s an honor for me to speak with you personally and learn more about your short film Ectropy. To start, could you tell me a bit about your backgrounds in the film industry?

JORDAN: Absolutely! My journey in the industry actually began in post-production I started as a colorist, and from there I transitioned into editing Over time, I became more involved with shooting, working as a cinematographer and director of photography Eventually, I took the step into directing I’ve had the opportunity to explore different aspects of filmmaking, which has given me a comprehensive understanding of the entire production process. My background in post-production, in particular, has been invaluable because I believe it's a crucial element in making any film.

Filmmaking is often said to happen in three stages: it begins with writing, then the production phase on set, and finally, it’s completed in post-production I’ve had the chance to experience and contribute to all these stages, which has really shaped my approach to filmmaking

ANDREW: I actually started my career as an actor, and I still love acting there’s nothing like it. It’s the best “high” in the world. But as I got older, I realized that my true passion was storytelling. I found that as a writer, I had more control over the story than I did as an actor So, I transitioned into writing, and from there, I began producing working on everything from commercials to feature films, and creating scripts for them It’s been an incredible journey! These days, my main focus is on screenwriting and telling stories

JORDAN: Andrew and I have been creative partners for 15 years We’re really excited to be working with WS Productions Andrew takes the lead on a lot of the producing and creative direction for our projects We collaborate with various brands and artists, producing video content for everything from social media commercials to all kinds of advertising

But ultimately, our passion is making movies and telling the stories we ’ ve always wanted to tell. We’re committed to doing that for the rest of our lives. We’re working together because filmmaking isn’t something you can do alone it requires a team of talented people.

Sounds very interesting! You mentioned that you have been working for a while with WS Productions, telling an amazing story about the philosophy of master artist Sir Daniel Winn. How did that start? And why did you decide to involve art in your filmmaking?

ANDREW: That’s a great question. A while back, we had a meeting with Sir Daniel Winn and Randall J. Slavin. We’ve been collaborating with them for a few years, creating content for their gallery, Winn Slavin Fine Art During that meeting, Sir Daniel made a point that really resonated with me He said, ‘Just as films are made from amazing books, why can’t we make a film based on an art piece that speaks to so many people?’

That’s when it clicked for me Sir Daniel Winn has created a series of paintings and sculptures that could inspire millions of stories And that idea that these pieces could serve as the foundation for something much larger was a turning point for me.

JORDAN: There was definitely a learning curve for me, especially stylistically, because the work we were dealing with involved complex and profound ideas. I come from a commercial background as a cinematographer, having shot over 400 commercials, which is completely different from the art world

At first, I was intimidated when I took on Creation, the first short film project about Sir Daniel Winn’s artistic philosophy Existential Surrealism When I was offered this job, I wasn’t sure if I was the right person for it But what I quickly realized was that Sir Daniel and I shared similar sensibilities when it came to lighting, color, and textures. That gave me confidence, and I started to feel like I might actually be well-suited for the project.

I’m very focused on the technical side of filmmaking, but working with Sir Daniel required me to shift my mindset I started thinking less about the technical aspects of making the film and more about why I was making it and what I wanted to convey through the story

It seems like you’ve really immersed yourself in art and developed a true passion for it. When I watched your new project, Ectropy, at the private screening here at the Reno Tahoe International Art Show, I felt such a strange, indescribable emotion. I experienced a wide range of feelings during those 17 minutes. How did you manage to connect with the human soul in that way?

SIR DANIEL WINN. FROM ECTROPY THE FILM

JORDAN: Well, my primary goal is to tell a story that resonates with people, because if the audience doesn’t care, what’s the point? I’d say that nearly 99% of people face some kind of mental block at some point They struggle to see the bigger picture or how to get there, and sometimes they’re scared to take that first step I think that’s something everyone can relate to, whether in art, in any industry, or even on a spiritual level

We wanted to take that simple concept and frame it in an epic setting, especially since we were making this grand sci-fi film. But at the same time, we also wanted to make sure it was visually striking and pleasant to the eye, because it's just as important to entertain the audience

ANDREW: For me, one of the biggest challenges we faced while writing the script was that there was no dialogue it was all about emotions Every scene had to communicate through feelings alone, without words So, as we sat down to write, that’s where it all began Of course, it all starts with the script From the very first few pages, we knew this would be a roller coaster for the audience We wanted to play with that dynamic

We explored the line between how deep we could go emotionally and how far we were willing to push those boundaries. We really committed to it, and hearing that it had an impact on you and others means a lot to us. Watching the audience experience the roller coaster ride we hoped to create is incredibly rewarding.

JORDAN: We had a lot to talk about because we drew from real-life experiences and emotional challenges that both Andrew and I face daily, and so does Sir Daniel This helped us convey these ideas to the audience In a way, it’s also a form of self-expression We’re not just creating pieces for the audience; we ’ re also finding ways to express our own feelings

Take the shots of Sir Daniel Winn lying on the ground, deep in thought. I spend a lot of my time reflecting, often lying on the floor, thinking about what’s next. It's about pondering how to move forward. That’s the core of the story it felt deeply personal and meaningful to us. We wanted to bring it to life on paper and then on screen Now, we ’ re able to have these conversations about it

ANDREW: My favorite part is hearing people’s thoughts on our short film Once it’s out there, it’s no longer just ours it belongs to the audience It’s for everyone to interpret, enjoy, and decide for themselves

I totally agree! So, how would you explain Ectropy? What is it about?

ANDREW: I think Ectropy speaks a lot to the loneliness of being an artist the solitude that comes with it But it also explores how that loneliness, when you push through it, can lead to the creation of something beautiful The sacrifices an artist makes to provide art for others that’s a central theme of the film

SIR DANIEL WINN FROM ECTROPY THE FILM

JORDAN: At its core, the film is about creating nature, but it’s really a metaphor for the internal battle we all face this struggle between who we are and who we want to be The cave where the artist lives represents being trapped in your own mind, unable to escape. And when he allows himself to be vulnerable, that’s when things start to grow, like plants. The metaphor of the child is about confronting and working alongside your younger self. How many times have you looked back and thought, ‘If I were just ten years younger, what could I be doing right now?’

But it’s not really about age I think it’s more about that spirit of freedom, where there’s no fear of failure The film touches on that idea in several ways It also highlights the fragility of self-esteem how quickly inspiration and confidence can be found, but just as easily stripped away

Oh yes! And when the child died in the movie, I couldn’t stop crying… Let’s talk a little about the technical aspects. What was the process of making Ectropy? What challenges did you face?

JORDAN: Oh wow, that’s a big question. We’re actually releasing a documentary about it too. When we started working on Ectropy, we quickly realized it was going to take a village, and we needed to bring in the right people. For me, that meant having conversations with the production designer, the director, and the cinematographer to ensure we had the right team to bring this vision to life We knew we couldn’t do it alone, but we also knew a film like this would require a lot of flexibility

Andrew wrote the script with the cave in mind, and that cave was inspired by the work of a dear friend of mine, an incredible production designer Alongside that, we had a talented team of decorators, muralists, and painters It was a massive production, with a huge team working together to craft and build the set in just two weeks We had only one location the cave and it didn’t actually exist in real life It was a metaphor for the artist’s mind. We had to think carefully about how to make it visually interesting, and we put a lot of effort into making the cave the centerpiece of the film. We used an empty warehouse in Anaheim to build a 700-square-foot cave, and it worked out perfectly. That was probably the most technical aspect of the production making sure the cave looked and felt real

ANDREW: Once the script was finalized and we knew we had the budget to move forward, we went through it page by page to determine our priorities With a film that only has two actors, the cave became the main focus It was essential to make sure it looked exactly as Jordan and Sir Daniel envisioned it

In Ectropy, the cave looked so real and natural. I would never have guessed it was built from scratch. Congratulations on such an incredible accomplishment! Now, let’s talk about the actors they were outstanding! Sir Daniel Winn was phenomenal, and the 6-year-old actress portraying the artist’s muse and the figure of Mother Nature was also fantastic.

JORDAN: We were so lucky to find Vivienne Lucille We initially thought we wanted someone older, but after seeing over 300 auditions, we realized we needed someone younger Vivienne, at just six years old, brought an innocence and purity to the role that was perfect for the story

PHOTO CREDIT:

MICHAEL BEZJIAN

I didn’t tell her much about the story’s themes, as I didn’t want it to weigh on her It’s a sad story the fate of the child and the artist is bittersweet and I didn’t want her to carry that into her performance

ANDREW: I remember Jordan saying, ‘I think I found THE person ’ And when I saw Vivienne’s audition, I agreed she was perfect She was so professional for her age, and a joy to have on set

JORDAN: During the rain scene, we let Vivienne do her own thing That was just her having fun, enjoying the moment It was so organic and natural, and that’s exactly what I wanted. Vivienne and Sir Daniel had such great chemistry they really clicked during the screen tests.

Let’s talk a little bit about the concept You created this film, probably inspired by the artistic philosophy of Sir Daniel Winn. How do you understand ‘Existential Surrealism’, and why do you think it resonates with you?

JORDAN: The ‘Existential Surrealism’ philosophy of Sir Daniel Winn speaks to me for two reasons: one, because I often find myself having an existential crisis (laughs), and two, because the universal truths that Sir Daniel explores through his art really inspire me. I think what fascinates me most is the exploration of what those truths are.

ANDREW: One of my favorite aspects of the short film is how we were able to convey that After editing, it becomes clear that once the main character the Artist loses the child or his creative inspiration, he has to find it within himself in order to continue creating and breaking through It’s about finding the strength within yourself to push past whatever obstacles you need to overcome Jordan: It’s something much more complex than I can put into just a few words But if I had to sum it up, it’s about finding the answer to the bigger questions: Why are we here? What will we leave behind? And will it even matter? This quest to understand the Universe of Truth and to explore the human condition is what really fascinates me.

Amazing! What are your future plans for Ectropy?

ANDREW: We're premiering Ectropy in November at The Culver Theatre, and I’m really excited about that After the premiere, we have several festivals that are very interested in screening the film and hosting events around it internationally Then, we plan to screen it all across the U S The big goal right now is to have a strong festival run and get as many people as possible to see and experience the film

JORDAN: Ultimately, our goal is to keep telling stories. For Sir Daniel Winn, it’s been about hard work, as you can see from the amazing booths of Winn Slavin Fine Art here at the Reno Tahoe International Art Show. His work is not limited to a single theme he has a wide range of pieces that tell specific stories, and I think each one has something people can relate to Right now, we ’ re bundling everything into a three-part short film series, but I believe it can expand far beyond that

JORDAN: As Ectropy gains more attention through festivals and private viewings, we'll be working on our next film, Entropy: From Order to Chaos, which will explore the theme of death I think that one will be a really powerful film

Our goal is to make each film better than the last more captivating, more thought-provoking As a genre, we think it's very important We’re making independent films, and the key thing is that we want to contribute to the art house movement.

Thank you for such an inspiring conversation! I can’t wait to see your future collaborations with Sir Daniel Winn!

INTERVIEW BY

DARIA RUSAKOVA

SIR DANIEL WINN

@SIRDANIELWINN

WINN SLAVIN FINE ART

@WINNSLAVIN

PUBLICIST:

RICK KRUSKY, MWPR INC

@RICKKRUSKY, @MWPRINC

JORDAN SCHULZ

@JORDANSCHULZDP

ANDREW CREME

@ANDREW CREME

VIVIENNE LUCILLE

@VIVIENNE LUCILLE

SIR DANIEL WINN FROM ECTROPY THE FILM

SIR DANIEL WINN AND VIVIENNE LUCILLE AT THE WORLD PREMIERE OF ECTROPY

PHOTO CREDIT: MICHAEL BEZJIAN

C A M I L O P I N T O : S Y M P H O N Y O F C O L O R A N D I N N E R D R E A M S

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a n d a l l u r i n g i n n e r u n i v e r s e s t h a t s e e m t o

t r a n s p o r t u s t o a n i d e a l i z e d d r e a m H i s

c a n v a s e s , d e p i c t i n g w o m e n o f e x u b e r a n t

b e a u t y , s t a n d o u t n o t o n l y f o r t h e i r f o r m b u t

a l s o f o r t h e e m o t i o n a l s t a t e s t h e y c o n v e y ,

w h i c h r a n g e f r o m s t i l l n e s s t o c o n t e m p l a t i o n ,

r e v e a l i n g a n i n n e r w o r l d r u l e d b y f a n t a s y .

A l l u d i n g t o e x p r e s s i o n i s m , h i s p a i n t i n g s b l e n d

t h e i n c o m p r e h e n s i b l e f o r m s o f i d e a s a n d

m e m o r i e s w i t h t h e c o m p r e h e n s i b l e a n d d e s i r a b l e

a s p e c t s o f r e a l i t y : h u m a n a n d f e m i n i n e b e a u t y

W o m e n w i t h e l o n g a t e d n e c k s a n d a l l u r i n g l i p s

r e f l e c t t h e i r i n n e r l i v e s , s h o w i n g t h a t b e y o n d

a p p e a r a n c e , a n e s s e n c e e n d u r e s i n t h e f o r m o f

m e m o r i e s a n d e x p e r i e n c e s , m a k i n g v i s i b l e w h a t

o f t e n r e m a i n s h i d d e n .

C A M I L O P I N T O

“ M A G A Z I N E 0 0 1 ”

M I X E D M E D I A O N C A N V A S

C A M I L O P I N T O “ M A G A Z I N E 0 0 2 ”

M I X E D M E D I A O N C A N V A S

I n t h i s w a y , h i s w o r k d r a w s

r e a l m s o f p a r a l l e l , d r e a m l i k e

r e a l i t i e s , r e n d e r e d c o n v i n c i n

p r e s e n c e o f a n i m a l s e n d o w

q u a l i t i e s a n d a n i m a t e d c h a r

6 7 X 6 7 " a M a s t e r o f F i n e A r t s a n d

6 7 X 6 7 "

r e n t s , w h i c h , i n a d d i t i o n t o

y - t w o y e a r s o f a r t i s t i c c a r e e r ,

n d p e r s o n a l e x p e r i e n c e w i t h

c a r e e r , C a m i l o h a s

i n c o l o r f u l m o s a i c s , w i t h l i n e s a n d s t r o k e s i n

v a r i o u s d i r e c t i o n s , f o r m i n g c o m p o s i t i o n s b o r n

f r o m t h e m a g i c o f h i s i m a g i n a t i o n a n d c h i l d h o o d

e x p e r i e n c e s , i n f u s i n g h i s w o r k s w i t h s y m b o l i s m

a n d i n t i m a t e m e a n i n g .

I n h i s a r t i s t i c p r o c e s s , C a m i l o e m p l o y s a m i x e d

t e c h n i q u e i n v o l v i n g d r y p a s t e l s , o i l p a s t e l s , o i l s ,

a n d c h a r c o a l s , a m o n g o t h e r s , t o e n r i c h t h e

s y m p h o n y o f c o l o r o n h i s c a n v a s e s w i t h

s u b s t a n t i a l p l a s t i c i t y . H e f r e q u e n t l y u s e s

t u r q u o i s e a s a n a l t e r n a t i v e t o b l a c k a n d

i n c o r p o r a t e s s h a d e s o f p u r p l e , g r e e n , a n d g r a y t o

e v o k e a b a l a n c e b e t w e e n l i f e a n d e m o t i o n , a n d

b e t w e e n m i n d a n d r e a s o n , t h r o u g h v i b r a n t a n d

n e u t r a l c o l o r s a l i k e

d e v e l o p e d a u n i q u e v i s u a l l a n g u a g e t h a t b l e n d s

v a r i o u s s t y l e s a n d p a i n t i n g t e c h n i q u e s ,

s u r p r i s i n g v i e w e r s w i t h c a n v a s e s d i s t i n g u i s h e d

b y h i d d e n c o l o r c o d e s , g e o m e t r i c p a t t e r n s , a n d

c o n t r a s t i n g t e x t u r e s .

H i s e x p e r i e n c e h a s l e d h i m t o p a r t i c i p a t e i n

n u m e r o u s e x h i b i t i o n s i n c i t i e s i n c l u d i n g B o g o t á

a n d C a r t a g e n a i n C o l o m b i a ; P a n a m a C i t y , S a n

J o s é o f C o s t a R i c a , P u n t a C a n a , a n d M e x i c o

C i t y i n M e s o a m e r i c a ; L o n d o n , E n g l a n d ; a n d

M i a m i a n d N e w Y o r k i n t h e U n i t e d S t a t e s .

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C A M I L O P I N T O

@ C A M I P I N T O A R T

P H O T O C R E D I T :

N I C O L A S P I N T O

I n a h y p e r c o n n e c t e d w o r l d , t h e l i n e , i n A n d r e a

C a s t r o ’ s s e r i e s “ A b r a z o s ” ( H u g s ) , b e c o m e s

t h e s i m p l e s t y e t m o s t s i g n i f i c a n t p i c t o r i a l

e l e m e n t , b r i n g i n g u s b a c k t o t h e e s s e n c e o f

o u r h u m a n i t y : o u r a b i l i t y t o c o n n e c t w i t h

o t h e r s a s p a r t o f a s h a r e d h u m a n e x p e r i e n c e .

I n t o d a y ’ s a g e , h u m a n s a r e i m m e r s e d i n

c o n s t a n t d i g i t a l c o n n e c t i v i t y , o v e r w h e l m e d b y

a r t i f i c i a l s t i m u l i t h a t h a v e s i d e l i n e d t o u c h a n d

f a c e - t o - f a c e r e l a t i o n s h i p s .

I n t h i s c o n t e x t , A n d r e a C a s t r o ’ s w o r k , w i t h

g r e a t s e n s i t i v i t y a n d m i n i m a l i s t e x p r e s s i o n ,

p l a c e s u s i n a c o n t e m p l a t i v e a n d r e f l e c t i v e

s p a c e , g u i d i n g u s b a c k t o b a l a n c e t h r o u g h

e s s e n t i a l i s m

H e r a l l u r i n g , s o b e r c a n v a s e s , d e f i n e d b y

s t r o k e s f o r m i n g s i m p l e h u m a n s i l h o u e t t e s , a

n e u t r a l c o l o r p a l e t t e , a n d h a n d - e m b r o i d e r e d

d e t a i l s , i n v i t e u s t o n u r t u r e o u r r e l a t i o n s h i p s

a n d c h e r i s h h o l d i n g e a c h o t h e r , a s t h e m o s t

s a c r e d , a u t h e n t i c , a n d l o v i n g b o n d w e c a n

a s p i r e t o i n t h e s e h y p e r c o n n e c t e d t i m e s .

H u m a n f i g u r e s c o n n e c t e d b y a n e m b r a c e ,

i n v i t e u s t o r e d i s c o v e r t h e v a l u e o f t h i s b o n d ,

a b o n d t h a t b e c o m e s e v e n s t r o n g e r a f t e r 2 0

s e c o n d s , w h e n e a c h o f o u r h e a r t ’ s

s y n c h r o n i z e s a n d t h e n b e g i n t o b e a t a s o n e ,

u n l o c k i n g a m a g i c a l f e a s t o f h o r m o n e s t h a t f i l l

u s w i t h f e e l i n g s o f w e l l - b e i n g , l o v e , g o o d

v i b e s , w h i l e i t s h o r t e n s t h e d i s t a n c e s t h a t

d i v i d e u s , a n d o c c u p i e s t h e v o i d s t h a t a

d i g i t a l w o r l d s e e m s t o h a v e l e f t u s w i t h i n u s .

A n d r e a C a s t r o i s a C o l o m b i a n p a i n t e r t h a t

h a s f o c u s e d o n p o r t r a y i n g t h e h u m a n

c o n d i t i o n i n v a r i o u s c o n t e x t s , t h r o u g h o u t h e r

c a r e e r . T o d a y , h e r a r t i s t i c I a n g u a g e

e m b e d d e d i n t o t h e s i m p l i c i t y o f h e r s t r o k e s

i n t e r t w i n e s w i t h h e r p a i n t i n g t e c h n i q u e s a n d

t h e s c e n e s o n h e r c a n v a s e s a n d s p e a k f r o m

t h a t s i m p l i c i t y .

S o c i a l a n d c u l t u r a l i n f l u e n c e s a n d e v e n t s a l l t h e w a y f r o m g l o b a l i z a t i o n a n d m i g r a t i o n u p t o d i g i t a l i z a t i o n , c o m m u n i c a t i o n , a n d g e n d e r d y n a m i c s i m p a c t o u r

e m o t i o n s a n d a r e d e e p l y r e f l e c t e d i n o u r b o d i e s a s w e c a n

s e e i n h e r a r t i s t i c w o r k

M a r i a C a m i l a A l a r c ó n A . E x p e r t i n A r t T r e n d s

K A L E E G U A U T A : A R T A S A M U L T I - S E N S O R Y

A N D E M O T I O N A L E X P E R I E N C E

K a l e e G u a u t a ' s w o r k i n v i t e s u s o n a

j o u r n e y b e y o n d t h e v i s u a l , e x p l o r i n g

e m o t i o n s , m e m o r i e s a n d s y m b o l s t h a t

r e s o n a t e d e e p l y w i t h t h e v i e w e r . H i s s t y l e

c o m b i n e s t h e m e s o f m e m o r y , m e n t a l

h e a l t h a n d h e a l i n g , o p e n i n g a s p a c e f o r

r e f l e c t i o n a n d i n t r o s p e c t i o n .

E a c h p i e c e i s a v i b r a n t u n i v e r s e w h e r e

h u m a n f i g u r e s m e r g e w i t h n a t u r a l a n d

a b s t r a c t e l e m e n t s , m a k i n g c o n n e c t i o n s

s e n s o r y d i m e n s i o n , i n t e g r a t i n g m u s i c , d a n c e

a n d p e r f o r m a n c e t o t r a n s f o r m t h e w o r k i n t o

a n i m m e r s i v e e x p e r i e n c e , l i v e d f r o m t h e

e m o t i o n a l

K a l e e g o e s b e y o n d p a i n t i n g : h i s a r t i n v i t e s

i n n e r d i a l o g u e a n d t r a n s f o r m a t i o n , w i t h

e l e m e n t s s u c h a s a n i m a l s a n d p l a n t f o r m s

t h a t s y m b o l i s e t h e c o n n e c t i o n b e t w e e n t h e

s e l f a n d i t s e n v i r o n m e n t H i s w o r k i s a s h a r e d

h e a l i n g p r o c e s s i n w h i c h t h e v i e w e r f i n d s a

b e t w e e n i d e n t i t y a n d n a t u r e . H i s c r o s s - m o d a l a p p r o a c h s i n c e 2 0 1 5 a d d s a

m i r r o r f o r t h e i r o w n e m o t i o n s a n d m e m o r i e s .

R A U L Z U L E T A ( C O L O M B I A )

R a ú l Z u l e t a w a s b o r n i n C o l o m b i a i n 1 9 8 3 .

H i s p a i n t i n g s a r e a p r o v o c a t i v e a n d i r o n i c

s t a t e m e n t o n t h e w o r l d o f c o n t e m p o r a r y a r t ,

t h e r e s u l t o f a f u s i o n b e t w e e n h i s

b a c k g r o u n d i n F i n e A r t s ( U n i v e r s i d a d

N a c i o n a l d e C o l o m b i a , M e d e l l í n ) , h i s

M a s t e r ' s i n A r t H i s t o r y ( U n i v e r s i d a d d e

A n t i o q u i a ) , a n d h i s e x t e n s i v e e x p e r i e n c e a s

a u n i v e r s i t y p r o f e s s o r . T h e s e e l e m e n t s

i n t e r s e c t w i t h a s a r c a s t i c t o n e d e r i v e d f r o m

h i s r e c o g n i z e d c a r e e r a s a c a r t o o n i s t . I n t h i s

d i a l o g u e , Z u l e t a a p p r o a c h e s A r t H i s t o r y a s a

v i s u a l a n d c o n c e p t u a l s o u r c e t o g e n e r a t e

n e w g r a p h i c a n d p i c t o r i a l c o n t r a s t s t h a t

e x p a n d t h e m e a n i n g o f t h e r e f e r e n c e d w o r k s

a n d h u m o r o u s l y q u e s t i o n t h e a r t s y s t e m

i t s e l f .

A d d i t i o n a l l y , h i s c a r e e r i n c l u d e s n e a r l y 6 7

i n t e r n a t i o n a l c a r i c a t u r e a w a r d s a n d n u m e r o u s

i n t e r n a t i o n a l r e t r o s p e c t i v e s . H i s c a r t o o n s h a v e

b e e n s e l e c t e d i n o v e r 2 0 0 g l o b a l c o m p e t i t i o n s ,

a n d i n 2 0 2 2 , h e e a r n e d a s p o t i n t h e B o o k

C a r i c a t u r e o f I r a n , w h e r e h e w a s r e c o g n i z e d

a s o n e o f t h e 1 0 0 b e s t c a r t o o n i s t s i n t h e w o r l d

S i n c e h i s o n g o i n g p u b l i c a t i o n i n t h e

n e w s p a p e r E l E s p e c t a d o r , h e h a s w o n s e v e r a l

N a t i o n a l J o u r n a l i s m A w a r d s . M o r e o v e r , i n t h i s

f u s i o n w i t h t h e f i e l d o f a r t , h i s s o l o e x h i b i t i o n s

i n g a l l e r i e s i n C o l o m b i a a n d A r g e n t i n a , a s w e l l

a s h i s a r t i s t i c r e s i d e n c i e s a n d c r e a t i o n g r a n t s , s t a n d o u t

@ Z U L E T A A R T I S T

I n t h e p i e c e " A r t M a r k e t " ( Y a y o i p u m p k i n

a n d a n o l d C o l o m b i a n s c a l e ) , I s t a r t e d w i t h

a n i n i t i a l p r e m i s e o f r e l a t i n g i c o n i c w o r k s

b y i n t e r n a t i o n a l c o n t e m p o r a r y a r t i s t s t o

v e r y C o l o m b i a n c u l t u r a l a n d p o p u l a r

c o n t e x t s P e r h a p s i t w a s t o e x p l o r e t h e

r e l a t i o n s h i p a n d c o n t r a s t b e t w e e n h i g h

c u l t u r e a n d l o w c u l t u r e , o r h o w t o c o n n e c t

t h e g l o b a l w i t h t h e l o c a l . B u t a s o f t e n

h a p p e n s i n m o s t o f m y w o r k s , b e h i n d t h a t

f i r s t s a r c a s t i c , i r o n i c , a n d s o m e w h a t

h u m o r o u s r e a d i n g , t h e r e i s a m u c h d e e p e r

r e f l e c t i o n , w h i c h i n t h i s c a s e l e a d s u s t o

q u e s t i o n t h e a r t m a r k e t s y s t e m H e n c e , t h e

t i t l e o f t h e p i e c e , " M e r c a d o d e l A r t e , "

p l a c e s u s i n a n a m b i g u o u s r e l a t i o n s h i p

w i t h t h i s p a i n t i n g

O n o n e h a n d , t h e l a r g e p u m p k i n b y Y a y o i

K u s a m a i s s t i l l a v e g e t a b l e , w h i c h c o u l d b e

w e i g h e d o n o n e o f t h e s e o l d t r a d i t i o n a l

s c a l e s i n C o l o m b i a , c r e a t i n g a l i t e r a l

r e l a t i o n s h i p o f w e i g h i n g a v e g e t a b l e B u t

o n t h e o t h e r h a n d , t h i s a m b i g u o u s c o n c e p t

o f t h e a r t m a r k e t p l a c e s u s i n t h e p u m p k i n

o f Y a y o i , n o t a s a v e g e t a b l e b u t a s a w o r k

o f a r t , a s c u l p t u r e , w h i c h i s p l a c e d o n t h i s

t y p i c a l C o l o m b i a n s c a l e . T h i s t h e n o p e n s

u p a q u e s t i o n a b o u t t h e a r t m a r k e t , a n d

w i t h i n t h a t o p e n i n g , a b r o a d p a n o r a m a

u n f o l d s d u e t o t h e c o m p l e x i t y , a b s u r d i t y , a n d t h e s t r i k i n g n a t u r e o f t h e d y n a m i c s o f

c o n t e m p o r a r y a r t a t t h e s c a l e o f a n a r t i s t

l i k e Y a y o i K u s a m a

H o w e v e r , t h e r e i s a v e r y p a r t i c u l a r d e t a i l i n t h i s p a i n t i n g t h a t I p r o p o s e : t h e s c a l e d o e s

n o t s e e m t o i n d i c a t e a r e l e v a n t w e i g h t f o r

t h e s c u l p t u r e , a n d t h e r e f o r e , i t s w e i g h t

d o e s n o t e v e n e x c e e d o n e k i l o g r a m ,

s o m e t h i n g a b s u r d f o r w h a t a n y Y a y o i

s c u l p t u r e i n s t e e l s h o u l d w e i g h . T h i s

g e n e r a t e s q u e s t i o n s i n t h e v i e w e r : W h y

d o e s n ’ t i t w e i g h a n y t h i n g ? A n d i t i s h e r e

w h e r e m y w o r k s d o n o t l i m i t t h e m s e l v e s t o

a s i n g l e i n t e r p r e t a t i o n , b u t i n s t e a d

g e n e r a t e c u r i o s i t y i n t h e v i e w e r , p r o m p t i n g

p o s s i b l e q u e s t i o n s a n d a n s w e r s w i t h i n

t h e m . O t h e r s m i g h t a s k , d o e s

c o n t e m p o r a r y a r t n o t w e i g h a n y t h i n g ? I s i t

b e c a u s e Y a y o i K u s a m a i s o v e r v a l u e d ? O r i s t h e w o r k r e f e r r i n g t o t h e w e i g h t o f f a m e ?

D o e s t h e w o r k s e l l b y t h e k i l o g r a m , l i k e

p r o d u c e ? A n d s o , m a n y p o s s i b l e

i n t e r p r e t a t i o n s a r i s e f r o m t h i s p a i n t i n g

T h e a m b i g u i t y o f t h e p i e c e i t s e l f p r o v o k e s s o m e t h i n g i n t h e v i e w e r t h a t u n s e t t l e s t h e m , e v e n v i e w e r s w h o a r e u n f a m i l i a r w i t h Y a y o i ' s w o r k f i n d i t v e r y i n t r i g u i n g a n d o f f e r v e r y i n t e r e s t i n g i n t e r p r e t a t i o n s F u r t h e r m o r e , t h e p i e c e i t s e l f

c a n h a v e a n e d u c a t i o n a l c h a r a c t e r i n b r i n g i n g t h e p u b l i c c l o s e r t o

u n d e r s t a n d i n g t h e s e r e f e r e n c e s t o i m p o r t a n t c o n t e m p o r a r y a r t i s t s l i k e Y a y o i

T h i s a m b i g u i t y i s a l s o p r e s e n t i n t h e p o i n t e r o f t h e s c a l e . A l t h o u g h i t s e e m i n g l y p o i n t s t o t h e z e r o m a r k , d u e t o t h e a n g l e o f t h e p i e c e , i t r a t h e r a p p e a r s t o b e h e a d i n g t o w a r d t h e o p p o s i t e e n d , n e a r i n g t h e m a x i m u m p o s s i b l e w e i g h t

T h e r e f o r e , t h a t a n s w e r a l w a y s r e m a i n s a n o p e n q u e s t i o n f o r t h e v i e w e r F r o m

t h i s p e r s p e c t i v e , t h e w o r k p r e s e n t s a s o m e w h a t l o g i c a l r e l a t i o n s h i p o f w e i g h i n g a p u m p k i n o n a t y p i c a l C o l o m b i a n s c a l e , w h i c h i s p a r t o f t h e n a t i o n a l n o s t a l g i c i m a g e r y , b u t o n e t h a t g e n e r a t e s c u r i o s i t y , i m p a c t , a n d q u e s t i o n s w h e n t h e p u m p k i n i s n o t o n l y a f a m o u s s c u l p t u r e b y Y a y o i K u s a m a b u t a l s o a c c o m p a n i e d b y a t i t l e t h a t l e a v e s u s a t t h e c r o s s r o a d s o f q u e s t i o n i n g t h e " A r t M a r k e t ” - R A U L Z U L E T A

CHRIS FOX GILSON: ‘AUTEURS OF AI’

In his newest series Auteurs of AI, conceptual artist Chris Fox Gilson raises speculative- fiction style what-if questions about the “true” origin of Generative AI.

His artistic technique is equally unexpected, embedding a looped video that plays continuously in the center of each of his acrylic photo compositions Each piece reveals a celebrated “auteur” film director of Hollywood’s Golden Age using an anachronistic desktop computer and monitor.

The videos represent AI creations generated from prompts” made by the famed- filmmaker protagonists of his series. And it’s the AI output that delivers iconic moments of cinema history that film lovers have long attributed to the genius of their favorite directors.

CHRIS FOX GILSON: ‘ORSON’S BOOKENDS’

Because not everyone has tried Generative AI to create original images themselves, Gilson provides a demonstration at his exhibitions Visitors use his laptop and monitor account on Night Café AI to create their own images and keep them.

Over a long career in advertising, filmmaking, as an author of both college textbooks and bestselling fiction sold to Hollywood, and a pioneer in Virtual Reality, Gilson has both seen and participated in technological disruptions.

“So is A.I. the artist’s tool or Terminator?,” he asks.

“You’ll have to decide that for yourself. I experiment with it and love the creative possibilities But I would rather see it internationally regulated like nuclear weapons than left solely in the hands of either technology edgelords or governments to use and deploy as they please ”

Chris, we know you are an award-winning filmmaker yourself, which makes your latest series about Hollywood directors feel like a natural extension of your creative journey. Could you share a few words about your relationship with the film industry?

I first studied film at NYU when I held creative positions at Madison Avenue advertising agencies Like art, film is a feeling, not a thinking, medium Each :30 TV “spot” challenged me to make the lasting impact of a powerful haiku, by seizing the viewer’s attention in the first two seconds and forging an emotional bond that would translate to a positive association with the brand.

When my partner Bob Gordon and I launched a hybrid ad agency/TV production company, we created and filmed ad campaigns for global clients like Heineken worldwide in exotic and difficult locations

After I sold out to Bob, I wrote fiction bought by studios like Disney, New Line, and Warner. Finally, I made theatrical-length pop culture documentaries with my wife Carolyn as a full-fledged film director, producer, writer, and editor.

So my love of film has been tested and sustained with boots on the ground, sometimes in the sticky mud of Tuscany at dawn’s magic hour to bring talent, crew, location, and equipment into focus and get the shot.

What inspired you to create the Auteurs of AI series? Was there a particular artist or filmmaker that sparked this project?

I had a great respect for the accomplishments of filmmakers like Alfred Hitchcock, Orson Welles, and the most influential of all, Walt Disney.

But the series actually extends the earlier series I call Old Masters of AI, which proposes, with tongue firmly planted in cheek, that the computer and generative AI were both secretly invented during the Renaissance by polymath genius Leonardo DaVinci to improve the quality of his other machine and robotic designs and paintings.

Then DaVinci left it as his secret gift to future artists such as Van Gogh and Dali who used it to create their own masterpieces This explains why a current generative AI platform is branded DAVINCI.

Can you walk us through the concept of the Auteurs of AI Series? What are you hoping to communicate through these pieces?

As a newer artist, I’m interested in the question of how a piece of art, or particular artist, is evaluated and wanted to ask it from a fresh perspective

To use a restaurant analogy, should we assess the quality of an entre served by its effects on the patron who consumes it?

Or must we take into consideration the chef’s intent, mastery of the techniques displayed, the time and work effort involved, and whatever else might have gone on in the kitchen to create that particular gastronomic result?

“Auteur” in filmmaking was the term adopted by a New Wave school of French film writers who argued that the director is the “author” of the film Now, as a book author myself, I don’t really buy the idea that one person deserves the sole credit given a literary author Film is a collaborative medium But it did serve to brand directors who received a possessory credit like “Alfred Hitchcock’s Psycho” as extra-worthy and very special.

What if we were to discover that the Film Auteurs, like Van Gogh and Dali, had actually prompted their way to artistic glory using an AI platform? How would that affect the value of the artistic product or the perceived genius of its creator?

Each piece in the series seems to speak to a unique storytelling style. How do you decide on the visual language and medium for each filmmaker you represent?

I wanted to represent the singular world of each “Auteur” through his environment. In my mind’s eye, I always picture Hitchcock “ on the floor” in the milieu of the sound stage

Welles occupies a hotel room at the Chateau Marmont on Sunset Boulevard where he keeps his homebuilt computer and his mistress, who bears a resemblance to his actual mistress for a time, a young Geraldine Fitzgerald. Walt Disney has moved the studio he founded with his brother, shown in the desktop photo, from Kansas City to Hollywood where he prompts the original Mickey Mouse

CHRIS FOX GILSON: ‘WALT’S AI-PIPHANY’

Can you describe your creative process when starting a new work for Auteurs of AI series? Does it involve research, intuition, or a combination of both?

After the environment, I spend lots of time on the computer that particular Auteur has built for the DaVinci generative AI program. I look at other appliances of the particular year and design the computer accordingly with personal touches like Hitch’s projection of a future TV set and Welles’ desktop computer with a camera lens, filming the master at work

As someone who is deeply engaged with visual culture, what draws you to film as a source of inspiration? How does your background as a visual artist inform the way you interpret cinema?

I remember the first film I saw that made dialogue almost irrelevant, Stanley Kubrik’s 2001: A Space Odyssey

Given the close relationship between film and visual art, do you ever find yourself wanting to collaborate with filmmakers or engage with the medium in a different way?

Interesting that you ask, because I’m a new Artist in Residence at Miami International Fine Arts, the unique gallery, resident facility, performance space, and art school in Miami

The Creative Director Marco Curidad just announced a call for proposals for a collaborative project that must be done with another resident artist to cross- pollinate their expertise

I want to propose a project called Regression that would place me with another artist on stage to act out a session of a “Past Life Regressor” whose patient is recounting a dramatic memory from a prior lifetime in another era while, on a screen behind them, a film projects in period styling and costume what the patient describes I will never lose my need to make films

Chris greets art lovers at the Miami International Fine Arts exhibition, during the preview of his series

Are there any filmmakers or films you would still love to feature in future works? What draws you to those particular individuals or projects?

I’ve been building up to doing my personal favorite, Stanley Kubrick His body of work reaches a level of conceptual thinking and achievement in virtually all categories across a wide range of subject matter And of course the computer will share some design features with HAL 9000, the rogue “AI” hardware of 2001

Is there a particular piece or moment in the Auteurs of AI Series that you’re especially proud of or emotionally connected to? What makes it stand out for you?

I see a bit of myself in all of the protagonists in this series, having suffered through some of the same difficulties if not the same peaks of accomplishment If I could have prompted my way through some situations, I would have jumped for that button

are your

I have my eye on Spielberg, Coppola, John Ford (Stagecoach) and Kurosawa, but wish that there had been more support for female directors during the “Golden Age” of film to portray women who would be instantly recognizable I think women make excellent filmmakers for reasons of temperament, dedication, and a different creative perspective. Women are also much better at bearing pain without complaint, and there’s plenty of that inflicted in film production.

CHRIS FOX GILSON: ‘HITCHCOCK’S SHOCKER’

What

plans with this series for the future?

‘ABSTRACTING KELLY FISCHER’S

To read this article I recommend opening your favorite music application, searching for Free Jazz and accompanying these lyrics with various sounds; Since Kelly Fischer's work immediately makes the observer think about great exponents of Abstract Expressionism such as: Jackson Pollock or Willem De Kooning himself. Artists who have left an indispensable legacy for the history of art, but who have not left pupils who follow their line, either because of their artistic practices, or because of the excesses with which their personal lives and their works themselves were loaded.

Abstract Expressionism, like Jazz, is an American invention. Just as improvisation can be enjoyed in music, the same happens with the work of Kelly Fischer, it can be understood that there is a great level of freedom, given by what the great critics called at the time respectively: "The American Action Painters ” by Harold Rosenberg and Clemend Greenberg calling it “American Type Painting”. But in the end they were the same elements seen from various details, being defined as the temporal evolution of a physical system in space.

Kelly's work, like that of the great Masters such as Pollock or De Kooning, is freed from art, detached from it and connected with the moment and with the expression of feeling in that specific moment of creation. It is a work that has to do with movement, so it would be connected to infinity.

The light of infinity goes through an endless construction and materializes in the physical world and that is why it can be very chaotic. It is the result of developing the subconscious to expand it and developing it to elevate the mind.

Kelly Fischer's brush strokes are juxtaposed with each other, with drips, splashes and strokes of spatulas in which so many movements simply defy the essence of pure abstraction and focus on expression, with which she sometimes transfigures into some figurative images.

What makes Kelly Fischer's work a complex work nevertheless, definitely for everyone, since it is clearly separated from the movement, but rather allows expression to enter her mind that connects with figurative on some occasions; purely separating itself from it and thus opening the way to a new exploration of the most important American invention after Jazz, Abstract Expressionism.

BY ANDRÉS LINARES-GUERRERO, CURATOR

G A T O G O R D O

M I A M I - B A S E D G A L L E R Y

O F T H E I S S U E

GATO GORDO GALLERY (MIAMI, FLORIDA)

Gato Gordo Gallery is a dynamic, artistcreated and artist-run space in Miami that seamlessly blends figurative and contemporary art Dedicated to promoting both established and emerging talent, the gallery showcases a variety of mediums including photography, painting, sculpture, and digital art.

Committed to supporting the global art community, Gato Gordo participates in national and international art events and fairs to continue celebrating the diverse voices of talented artists.

Founded in 2023 by Inna Malostovker and Oscar Esteban Martinez, the gallery brings together their extensive experience in the art world.

Malostovker, a photographer and digital photo artist with nearly two decades of experience, has garnered numerous awards, publications, and exhibition opportunities.

Martinez, with over 30 years in the arts, has worked in painting, sculpture, public art installations, art education, and gallery management.

Together, they established Gato Gordo Gallery, initially launching at high-profile art fairs like Red Dot Miami and Cuba Nostalgia before securing their permanent space in Miami's vibrant Liberty City neighborhood.

THE SPACE OF GATO GORDO GALLERY IN LIBERTY CITY. ARTWORK: INNA MALOSTOVKER

Since its opening, Gato Gordo Gallery has become a cultural hub, offering Miami’s art community innovative and engaging events

Among the gallery's most notable events are: "Invite Me Into Your Silence» (A performance piece by Nidia Baquero, which captured deep emotional and visual resonance); Quick Drawing Sessions (An interactive experience where visitors could observe artists as they brought their creativity to life through live figure drawing sessions projected on screen); Fat Cat Club (A collaborative creative event between The New Art Order, Gato Gordo Gallery, and The Art Club, fostering artistic dialogue and collaboration).

These events have brought fresh vision and inspiration to the Miami art scene, pushing the boundaries of traditional art exhibitions and creating new avenues for artistic exploration and audience engagement.

THE SPACE OF GATO GORDO GALLERY IN LIBERTY CITY ART EXHIBIT BY ARGENTINIAN ARTISTS

INNA MALOSTOVKER AND OSCAR MARTINEZ FOUNDERS AND OWNERS OF GATO GORDO GALLERY

ARTWORK BY JAMIR GUIZA

THE SPACE OF GATO GORDO GALLERY IN LIBERTY CITY ART EXHIBIT BY ARGENTINIAN ARTISTS

ART EXHIBIT DEDICATED TO BLACK HISTORY MONTH

IN GATO

GORDO GALLERY, MIAMI

ARTWORK BY LYNDA SAULS

BLACK HISTORY MONTH EXHIBIT

Currently on display at Gato Gordo Gallery is a special exhibit in celebration of Black History Month, which opened on January 24. This powerful project showcases works from twenty talented artists hailing from Africa, Europe, Latin America, and the United States.

Each piece tells a story inspired by the struggles, resilience, and triumphs of Black communities, both past and present. The exhibit highlights the rich cultural tapestry of Black history and uses art to amplify the voices of those who have shaped the narrative of freedom, resistance, and empowerment.

In addition to the exhibit, Gato Gordo Gallery is excited to announce a special showcase of Oscar Martinez’s artwork on Monday, February 4th, at the Stephen P. Clark Government Center.

This collection will honor a Miami legend, continuing the gallery’s commitment to celebrating Black history and preserving its cultural significance for future generations

GATO GORDO GALLE

4600 NORTHWEST 7T

MIAMI, FL, USA

ARTWORK BY OSCAR MARTINEZ

Darrell Kern

A S T O R Y O F T H E I S S U E I N T E R V I E W B Y D A R I A R U S A K O V A

BETWEEN THE ARTIST AND GOD

Darrell, your work is truly remarkable. Could you take us back to the beginning and share what inspired you to become an artist? What was the spark that led you to pursue this path?

Well, there was a friend of mine who was a collector He had one of the finest collections of antiques and fine art in the Pacific Northwest He had excellent taste and was a real talent himself though he couldn’t paint at all His art was more about the craft, like doing crown moldings for palaces One day, he asked me to use a marbleizing kit to create columns in his house. As I worked, I wasn’t happy with how it was turning out, so I decided to try something different and make it my own. I wanted to create something special for my friend.

He had asked me to work with purple marble, but the colors weren’t blending the way I’d hoped. So, I started with one column, and then moved on to the next working on both at the same time. It was the first time I had ever worked with resin. I approached the project my own way, and the columns ended up looking like they were from the palace at Versailles They looked truly amazing

Unfortunately, I got sick for three days. I almost lost my sight because of all the chemicals I was working with, and my hands were badly affected too. But during that process, I discovered two things. First, I learned that if you use solvents in certain ways, you can draw the colors to the surface, which is a really cool effect, though it’s a difficult process. Second, I realized I had a unique natural gift for color it was something innate in me.

My friend, who I was doing the work for, was so impressed that he even accused me of using his Meissen books to get the colors right. But that wasn’t possible because those books only had black-and-white images, and I had never read them. I just had this natural sense of color. When I recognized that talent in myself, I became completely hooked. At that moment, I didn’t have a clear artistic style yet, but that was the beginning of it all, inspired by another artist.

This is such an impressive story about how you discovered your talent!

Actually, there’s a story behind every work of mine. For example, there’s one painting that I don’t want to sell because its story is very significant to me. It’s called Garden Variety Headache. I’ve been suffering from migraines for as long as I can remember, and it’s been a horrible experience. I was complaining about it to my collector friend, and he said, “Why don’t you just paint it?” That was the first time I actually did a painting

I painted what was inside my head, and then, the pain stopped You really liked that painting!

Oh, I loved it! I really felt such good energy coming from your piece maybe because you took your pain away and replaced it with creativity and inspiration.

Absolutely! After that painting, my migraines went away I stopped focusing on the pain and started painting instead, which kept me busy. It really worked!

That’s truly fascinating! As an artist, what would you say is your mission or core purpose? What drives your creative journey?

To heal myself and to heal others. Art, if you do it right and connect with God, can create a communication with the viewer And that communication is always healing So, my purpose is to be healed and to heal

That’s a great mission! Every artist has influences. Who would you consider to be your most significant teachers or mentors, and how have they shaped your artistic vision?

It would definitely be Van Gogh and Turner who knew how to capture light. I just love everything about Van Gogh. He had such a huge heart, and when the heart is that big, it just can’t fit inside a human body He was all about love, and he really loved people He wanted people to be in his paintings When I look at any of Van Gogh’s pieces, it feels like the ultimate invitation into his mind, body, and soul

I never really connected with the Renaissance; it wasn’t my style, but I definitely appreciate it I admire Romanelli for his technique he crushed up diamonds and rubies and put them into his paintings to create that sparkling effect

One of the Old Masters I really admire is Hieronymus Bosch. There isn’t a lot of information about him, but his work speaks for itself, especially The Seven Deadly Sins. If there were a painting by Bosch on the wall, I could just sit and stare at it for days. I’d get totally lost in it, thinking: What is he trying to say? He always tells you something through his work.

Another artist who comes close to this is Magritte, whom I also really love. Magritte was out of his mind, and I’d love to have a dinner party with both René Magritte and Hieronymus Bosch (laughs) It would definitely be a very interesting conversation

My work is inspired by artists from different eras and styles, but you never want to copy them You want to create your own unique expression

PHOTO CREDIT: DARIA RUSAKOVA

We have quite similar tastes! Your technique is distinctive how would you describe it? What sets it apart from other artistic approaches in your field?

I would call my technique Impasto Topography It’s distinctive and captures elements from other styles. It has a lot of texture, which is why I call it Impasto. But it also feels like God is speaking to me, and I’m simply transcribing what He’s telling me. God looks down and still sees us as beautiful, and He always turns whatever is awful into something beautiful. Always. That’s why I call it Topography.

And I know when I’m talking to Him, and when He’s talking to me. It’s a conversation.

That’s so beautiful! Every piece you create seems to hold a deeper meaning What concepts or themes do you explore in your work, and what message do you hope to communicate to your audience?

Every work is parabolic it’s saying something, and you have to figure out what it’s saying What it communicates will be different for each person I don’t like to define it because it doesn’t matter what my experience is; what matters is what the viewer experiences I get into a conversation with God to guide me through the process It starts with a prayer, and if I’m listening, it goes well For example, God might say, "Red " If I’m listening and use red in the painting, it works. But if I’m not listening and use green instead, the painting turns out horribly.

That’s incredible! But how do you hear those messages? Do you see images, or do you just feel something?

It’s not that I see or hear something it’s more like I just know it It’s not an image or a voice, it’s a kind of knowledge To receive this knowledge, I have to stay very still for a while, without any emotions, and empty myself completely to listen Sometimes I feel like I need to wait for a few minutes and see what happens Darrell, can you walk us through your creative process? How does an idea evolve into the finished piece?

Once I start channeling the information from God, that's when the process begins, and the work starts to take shape At that point, I already know how many layers it will take It becomes a kind of conversation it’s like talking to a friend This process can’t be interrupted Sometimes, I feel like God is holding me in His hands, guiding me in front of the canvas, showing me what to do

Thank you so much for sharing this! Your work has found a place in several prestigious collections. Could you tell us about some of the collections your pieces belong to, and what that recognition means to you?

Well, I’ve signed Non-Disclosure Agreements, so I can’t go into specifics. But I will tell you that I’m in two royal collections. And what does that mean to me? It’s always an honor when someone with that level of taste recognizes your work.

PHOTO CREDIT: DARIA RUSAKOVA

I don’t need four Academy Awards or any other kind of recognition If someone at that level appreciates my work enough to bring it into a royal palace, that’s enough for me So, every time I feel a lack which happens to every artist I remind myself that two of the richest people in the world are collecting my work. And they’re collecting it for business reasons, which makes me feel good. I don’t have to worry about my work, even if I never sell another painting again, because it has already caught their attention!

That’s very interesting and unusual! For some artists, recognition means awards, museum exhibitions, and publications. But for you, it’s about being appreciated by people you truly admire and respect.

Yes, exactly And there’s no competition for me I really don’t like to compete; it takes too much energy I also believe you should never copy anybody

True! As you continue to grow in your career, what would you consider to be your biggest dream or goal as an artist?

That’s a great question! I think my biggest goal is to be in a position where I can design my own studio, from top to bottom, with everything I need to get the job done right That’s probably my main goal as an artist I’d also love to have a couple of assistants that I can teach some really cool tricks to

I love your answers because they are so unique and definitely not common! I talk to many artists, and some of them would say that their goal is to be famous, recognized, and to sell as many pieces as possible

Well, being rich and famous would be nice! But the goal of an artist isn’t to be rich. The goal is to connect with the work in a way that allows it to communicate with people in a way that can change their lives. But how do you get there? By having good conditions to work like a studio, all the necessary materials, and tools.

Definitely! If you could envision your ideal collector, who would they be? What qualities or values would they have that align with your work?

That’s a tough question! But I think, for every artist, the most important your art truly ge perfect collecto real, no matter

ARTWORK BY DARRELL KERN

Thank you so much! That’s a very authentic answer! The last question is: If a young, aspiring artist came to you for advice, what are the top three pieces of wisdom you’d share to help them succeed in this competitive field?

Be fearless Be honest with your work Your work should always come from a place of love. If you do those three things, no matter what you do, it’s going to turn out well—or incredible. But it’s never going to be anything less than good if you embrace those three concepts: Fearless, Honest, and Loving.

THIS INTERVIEW TOOK PLACE ON JANUARY 1ST, 2025, AT THE WARM AND WELCOMING HOME OF DARRELL KERN. AS WE SIPPED COFFEE AND CHATTED, I ADMIRED HIS INCREDIBLE ARTWORK, UNAWARE OF THE TRAGEDY THAT WOULD SOON UNFOLD

JUST A WEEK LATER, ON JANUARY 8TH, DARRELL’S HOUSE IN ALTADENA WAS LOST TO THE CALIFORNIA WILDFIRES, ALONG WITH A LIFETIME OF ARTISTIC CREATIONS AROUND THE SAME TIME, I EVACUATED MY HOME IN LAUREL CANYON DUE TO THE SUNSET FIRE. THANKS TO THE KINDNESS AND SUPPORT OF INCREDIBLE PEOPLE, I GOT THROUGH THAT DIFFICULT PERIOD I REMEMBER WATCHING THE NEWS IN DISBELIEF AS DARRELL’S HOME WAS CONSUMED BY FLAMES

IF YOU WOULD LIKE TO SUPPORT DARRELL AND HIS REMARKABLE TALENT, HELPING HIM REBUILD AND CONTINUE CREATING, YOU CAN REACH HIM DIRECTLY VIA EMAIL:

DWKERNARTIST@GMAIL.COM

ANY SUPPORT WOULD BE GREATLY APPRECIATED

INNOKENTY GOSHEV.

BEST CONCEPTUAL

ARTIST OF THE ISSUE

INNOKENTY GOSHEV.

THE FIRST ARTIST FOR ENTREPRENEURS

Innokentiy Goshev is an entrepreneur who creates artwork specifically for people who are making the world a better place. His series of paintings titled "The Entrepreneur" was conceived in 2017. The exact number of works in the series is unknown because entrepreneurship is a creative process, where individuals use their own talents, along with those of their employees, to create products that serve society’s needs. As a result, the themes could be endless.

The primary goal of the series is to capture moments, victories, and achievements, as life is fleeting and the only constant is change. Through his art, Goshev aims to inspire future generations to pursue creative work.

The life of an entrepreneur is multifaceted, and the themes of the paintings reflect the inner world and emotional states of individuals who choose the path of achievement, independence, responsibility, and creation.

n these works or discover new aspects of their a fresh perspective and find the motivation to

GLEB SKUBACHEVSKY Nature, Life and Metamodernism

Gleb Skubachevsky is a contemporary European artist known for his innovative use of materials and his unique approach to painting and sculpture. His "Colours of Nature" series reflects the unusual and varied hues found in nature, captured through his signature paper technique By blending natural colors and using transitional shades, Skubachevsky creates abstract paintings that seem to grow organically from the surface of the canvas.

Skubachevsky believes that anything can become the basis for art, a concept rooted in pragmatism. His work is driven by a constant search for new ideas and materials, exploring universal themes such as life, evolution, adaptation, migration, and environmental change. Earlier in his career, his art focused on the origins of life, the possibilities of evolution, and even extraterrestrial life forms, often using scientific tools like microscopic optics to create intricate portraits of microorganisms, crystals, and trees.

However, recent global events have shifted his focus toward more immediate human concerns, particularly environmental issues Traveling around the world, he became increasingly aware of the degradation of ecosystems and has since aligned himself with initiatives to preserve forests, reduce packaging waste, and conserve water resources Through his art, Skubachevsky expresses his deep respect for nature, often using ecofriendly materials such as recycled paper to create his textured, sculptural works

Skubachevsky's practice aligns with metamodernism, balancing experimental form and material with a sense of ambiguity His works are both alien and familiar, fragile yet aggressive, and explore alternative life forms that could shape the future. His art often presents a delicate equilibrium between clarity and mystery, inviting the viewer to imagine new possibilities

Gleb Skubachevsky's artistic evolution began at the Moscow State Academic Art Institute, under the mentorship of Aidan Salakhova and Sergey Ossovsky. In 2015, he further developed his distinctive style at the Dukley European Art Community, creating expansive works that blend painting with sculptural elements. His signature technique involves layering fragile volumes of paper on wooden frames, pushing the boundaries of abstraction

Skubachevsky's art has been showcased in numerous international art residencies and exhibitions, where he collaborates with artists from diverse cultural backgrounds. His works are housed in private collections around the world, including in the UK, Montenegro, Greece, Italy, and China In 2016, he was named one of Russia's top 100 young artists by INART magazine and received two UNESCO awards for his participation in art fairs in Patras and Athens.

Skubachevsky continues to evolve as an artist, constantly seeking new ways to explore the intersection of painting, sculpture, and the natural world.

Creative Breakthrough of the Issue

WILLIAM FRANCIS

Bay Area-based contemporary visual artist Will Francis paints, sculpts, carves, welds, and constructs. Based on the materials available and countless inspirations, he dedicates his creative energies to producing bold, exciting, and accessible artwork. Born and raised in the Caribbean, with many later years spent in New York City and Los Angeles, Will's artwork is a reflection of all the places he has put down roots The vibrant life, culture, and strife of the people of each place show up in his pieces

From roaming the aisles of the MoMa in New York to painting his first piece inspired by Pablo Picasso- the creative instinct has always been with him. Yet only after a career in hospitality and a pandemic-inspired desire to reprioritize his activities, he moved his passion for art into his new career. When he is working on a piece, he doesn't typically know what the end result will be This artistic journey has taken Will through flows of creation that capture paints, clays, rocks, metals, and found objects in stimulating visuals.

Best International Artist of the Issue

PHILIP VERHOEVEN

PHILIP VERHOEVEN, born in Belgium in 1975, has been captivating art lovers with his vivid, multi-layered works that merge color, history, and creative energy. Growing up surrounded by the antique treasures in his parents’ shop, Verhoeven was introduced to art and the beauty of craftsmanship at a young age Early exposure to figurative art and an environment rich in history provided fertile ground for his creative development, leading him to embrace his passion for color, graphics, and music

Verhoeven’s artistic practice revolves around a unique approach to still life painting, a genre he has made his own His works, executed in bold acrylic paints, are instantly recognizable for their vibrant use of color and their eclectic mix of artistic influences. Drawing inspiration from movements like pop art, figurative art, graffiti, and graphic design, Verhoeven’s paintings are dynamic and contemporary yet deeply rooted in historical and cultural contexts. His canvases are not simply representations of objects but complex compositions that invite the viewer to uncover layers of meaning

At the core of his work is a positive outlook on life, which shines through in his use of color and his choice of subjects. The canvases are filled with symbols and references to important events, figures, and ideas that have shaped history and culture These elements, often drawn from literature, music, and historical moments, provide a depth to the paintings that encourages a personal interpretation, making each piece a conversation between the viewer and the artist

Verhoeven’s art can be seen as a dialogue between the past and the present. He brings history to life by embedding symbolic references within each piece, from well-known historical events to individuals who have left an indelible mark on society This creates a bridge for the viewer to reflect not only on the objects in front of them but also on the wider context of the world they inhabit

With an inherent love for history, literature, and music, Verhoeven incorporates these passions into his work, making his paintings much more than visual statements. They become intricate puzzles, encouraging viewers to discover connections and meanings between the different references and symbols woven throughout his art His still-life paintings are vibrant, complex, and often carry a deeper narrative that rewards those who take the time to look beyond the surface.

Verhoeven's 2023 calendar included solo shows in Belgium at Galerij Artisjok and in London at Miart Gallery, where he participated in group shows alongside artists such as Beto Gatti, Derrick Santini, and Gary James McQueen He was also featured in Brooklyn Collective and Zari Gallery in London, showcasing his ability to work in diverse contexts and with a wide range of fellow artists

In 2024, Verhoeven’s work was showcased at the Brooklyn Collective, Nobody & Friends in Antwerp, and at festivals such as the Lightfestival Gent in Belgium, with works also being part of group exhibitions in Luxembourg and New York

Verhoeven’s growing reputation has seen him exhibit at prominent galleries and festivals around the world He is represented by Miart Gallery in London, Colour Senses Project in Miami, and Cerbera Gallery in Kansas City, and is a member of the Brooklyn Collective in New York. His works have been showcased in major online art platforms such as Artsy, Artnet, and 1stdibs, further cementing his international standing

Upcoming exhibitions include a solo show in Paris at Ki Gallery in March 2025, as well as several past group exhibitions in 2024, including at Art Wynwood 2024 in Miami, Colour Senses Project in Miami, and Lichtundfire Gallery in New York These exhibitions reflect the continued interest in Verhoeven’s distinctive approach to art and his ability to bring new perspectives to the traditional still life genre.

Philip Verhoeven’s work invites viewers on a journey, not just through color and form, but through the layers of history, culture, and personal reflection that shape the world around us. His positive perspective on life, combined with his deep respect for history and his varied artistic influences, creates a body of work that is both visually compelling and intellectually engaging For Verhoeven, art is a way of connecting to the past, to the present, and to others, inviting the viewer to pause, reflect, and discover meaning in the everyday

D O W N O F T H E E R A

O F S P I R I T U A L A R T

Ekaterina Tretyakova

Biser Mironov

SIBERIAN MASTERS

Siberia… A place that remains shrouded in mystery and enigma for every European. A land steeped in both imagined legends and justified expectations. But can Siberia become a center for art? Let’s discuss this plainly, with no intention of offense.

The world today faces only two paths soulless art or uncultivated spirituality. In an era where shock art and the desire to stand out at any cost dominate, Siberia known for its humility and silence is weaving a space where a true Center for Spiritual Art can emerge. Only this path holds the future, for the future is always in creation, never in destruction, no matter how colorful or seemingly beautiful destruction may appear. The fact is undeniable—beauty alone, over centuries, has not saved the world.

Neither the F impeccable s innovators lik contribute to Clearly, new paths must be sought.

This is why we are convinced that the rise of Siberian artists on the global stage is not just a financial opportunity but a significant contribution to the creative movement as a whole. The discussion can no longer be about beauty alone it must be about inspired beauty.

In the south of the Krasnoyarsk region, a Community of Masters has existed for thirty-three years Here, artists and creatives dedicate themselves to infusing their work with the best of their essence.

The dawn of a new artistic approach is unfolding in the wilderness, among the gleaming cold snows, far removed from the noise and chaos of the modern world Who knows? Perhaps this is the last corner of the Earth where stability and peace persist despite everything.

ART AND PATRONAGE

Art has always existed thanks to patrons. When a woman takes on this role, it is an exception but one with a profoundly positive connotation. A woman, with her innate sensitivity, sees what resonates with her soul. And when she possesses both artistic vision and financial acumen, she can bring to life what no one else has dared to attempt

Ekaterina Tretyakova a young entrepreneur, designer, and art collector has taken a bold step that some might call absurd: introducing Siberian artists to the European market. But who, if not innovators, drives progress? It is time to change our perception of art it must become spiritual, transforming from mere color on a canvas into a space of healing contemplation. It is also time to change our perception of business it must bring joy.

We either live in the future or remain stuck in the past. The choice is ours.

STEPS ALREADY TAKEN

Ekaterina has commissioned a series of paintings from the Community of Masters and has presented them on the global market: Contemporary art exhibitions in Paris and Monaco (2023), Art Festival in Qatar (2023), International exhibition in Madrid (2024).

Ekaterina also represents Bulgarian artist Biser Mironov, who has lived and worked in Siberia for twenty years, making the Community of Masters his creative home She was drawn to a unique note of joy in his paintings undoubtedly the result of blending two contrasting energies: the fiery passion of the South and the serene stillness of the North. When an artist’s inner world is filled with the rich colors and scents of the South, yet he creates by a warm stove in the midst of endless snow, the mystery of such a canvas is ensured.

Ekaterina believes her mission is both timely and clear, ensuring her stability on this path. And the fact that every one of us is born with an innate sense of beauty only strengthens her conviction: even the most discerning critic and the most jaded viewer will feel something special in an artist’s attempt to channel, through the canvas, an energy that inspires the desire to truly live

EKATERINA TRETYAKOVA

BISER MIRONOV "MATURITY OF THE POMEGRANATE" (2023)

The pomegranate has long been a symbol of prosperity and love, threading its way through the spiritual traditions of the world Revered in every major religion, it is a fruit blessed by the divine. Mentions of the pomegranate can be found in the Old Testament, the Babylonian Talmud, and the Quran, reinforcing its sacred significance across cultures.

In this painting, the pomegranate represents life’s journey a path filled with challenges, yet one that ultimately leads to perfection and harmony. The abstract symbolism encourages gratitude for life’s trials, reminding us that every hardship refines us, bringing us closer to our highest selves. The victory of perfection is inevitable.

SALCEDO:

‘I’M HAPPY I LOST MY MIND’

Juan Salcedo, known professionally as Salcedo, is a twenty year-old multi-faceted artist, whose talents span diverse creative mediums, such as visual art, fashion design, and poetry His works aim to reflect the boundless creativity and refracted perspectives of society's youth.

His goal is not to attain so-called "perfection," or to work inside of the established notion of aesthetics. Instead, it is to demonstrate how he sees world, encapsulating all of the beauty and wretchedness within it.

“Outcast” is a term far too familiar to Salcedo Growing up as an only child, of Colombian descent, inherently came with many differences to what everyone else seemed to be living throughout his childhood.

Imposed lim served the s for caterpilla escape has perspectives and ambiguity Salcedo portrays within his artistry. Years of observation, analysis, and day-dreaming, of unknown experiences were the key to enabling his unique vision and ability to create.

Salcedo is characterized by what seems to be an innate fire and sense of rebellion that can be seen by many, through his passion and dedication towards his career as an artist Confidence and integrity are sometimes misinterpreted as arrogance and egotism, but they are the keys to his success.

Completely self-taught, he has attracted the attention of names like Lil Yachty, Olaolu Slawn, and an abundance of celebrity names and art collectors across the world. Salcedo is the epitome of strategic risk-taking and self belief. The concept of failure is nonexistent in his mind. In his own words, “you can’t fear outcomes you don’t accept as possibilities and me personally, I don’t give a f**k to risk my entire existence on success I rather die trying to live than live wondering what it’s like to die without doing so.”

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@SALCEDOSTUDIO

Artworks:

‘Corrosion’ (p 73)

‘Strikethrough’ (p 74)

SALCEDO, ‘POMPEII’ ACRYLIC ON CANVAS 36X48 IN.

SALCEDO, ‘ARIZONA’ ACRYLIC ON CANVAS 36X48 IN

A R T B O ’ 2 0 2 4

T H E M A J O R C O L O M B I A N A R T F A I R

al art fair and ca. Held in the ally attracts thousands of visitors. In 2024, ARTBO celebrated its 20th edition in the last week of September, welcoming 29,560 visitors and featuring over 350 participating artists from national and international galleries, as well as various cultural institutions. Altogether, this contributed to a vibrant showcase filled with artistic proposals that reflect diverse cultural nuances and influences.

Find a summary of the fair here, based on five trends:

THE DEPICTION OF THE LATIN AMERICAN CARIBBEAN THROUGH COLOR AND ITS

ISSUES

Each year, the international division of ARTBO majorly welcomes artists and delegations from Latin American countries, with notable participation from Chile, Argentina, Brazil, Mexico, among others. In 2024, the fair’s curation highlighted the Caribbean side of Latin America through large and colorful works by artists from countries such as Panama and the Dominican Republic.

Using strong, acidic colors, these artists focused on aesthetic, picturesque representations that express their cultural identity while also addressing social and environmental issues in their regions. This served as a reminder that art can take bold stands on issues without setting aside aesthetics.

FRANZ CABA

‘SOUVENIRS’ SERIES NG ART GALLERY

AI AND PASTEL HYPERREALISM

Since artificial intelligence has been applied in various visual art forms, it has managed to deceive the human eye. Nowadays, we sometimes can’t tell if what we’re seeing is a real image created solely through manual processes or if AI played a role. Thus, we see an artistic trend that, whether by AI or not, is accustoming viewers to a high-definition reality through detailed, vivid colors and especially pastel tones, providing an experience that transports us to surreal dreams

CONSCIOUSNESS & VIVID REPRESENTATIONS OF NATURE

In Latin America, the tropical Amazon region holds the highest biodiversity on the planet. Today, awareness of the importance of preserving and honoring nature has grown, thanks to the diverse indigenous communities in these territories who share their ancestral knowledge about the benefits of endemic medicinal plants and the necessity of preserving them for life on Earth In this context, we saw standing out works with a tropical essence that evoked sensory experiences of nature, offering a vivid portrayal through realistic details achieved with precise and innovative techniques. This helped raise awareness of the abundance that nature represents for our lives and the need to protect it as a sacred entity, guided by indigenous wisdom and cosmologies.

MARCO MOJICA ‘ISITCAKE?’ SERIES EL MUSEO GALLERY

VIOLET FOREST

‘BRONZE MUSE WITH MELTING ROSE BOUQUET’ CASA HOFFMANN

TATIANA AROCHA ‘CARACOLI’ MAPART

CAMILA ECHEVARRIA

‘CLOSE YOUR EYES, AND FEEL THE WIND’ BEATRIZ ESGUERRA ART

DESIRES FOR A BETTER WORLD

In 2024, the celebration of the Olympic Games put France in the spotlight as a country France stands out for representing ideals of freedom, democracy, and desires for a better world based on fraternity and equitable values for society In the history of art, we see these values iconically reflected in the work Liberty Leading the People by Eugène Delacroix

At ARTBO 2024, the works that masterfully represented these ideals through irony and technology undoubtedly captured the public’s attention

AFRICAN ART: VITALITY AND RESILIENCE (P.66)

In recent years, we have seen a growing interest in African art African artists or those of African descent have played a crucial role in fostering this interest by determinedly seeking to reclaim their identity and represent their culture Today, it seems impossible to imagine an art fair without a significant representation of African art, with unique and exotic color combinations, and motifs and symbols that connect us to the most authentic aspects of our being from the depiction of ancient cultural practices to the portrayal of the body At ARTBO, African artists and those from the diaspora not only offered a rich visual experience but also shared lessons of resilience and empowerment through the exhibition of their own histories (Examples: Christa David, 193 Gallery Thandiwe Muriu, “Beauty Queen”, 193 Gallery)

ÁLVARO BARRIOS

EL MUSEO GALLERY

GABRIELA GOLDER

‘REBELLIONS’

ROLF GALLERY

MARIA CAMILA ALARCÓN A ART TREND RESEARCHER AUTHOR OF THE REVIEW

THANDIWE MURIU “BEAUTY QUEEN” 193 GALLERY ARTBO’2024

Best Young Artist of the Issue

‘THROUGH THE CANVAS’

This artwork represents a bold breakthrough, transcending the boundaries of traditional art and merging it with reality. The scene depicts an artist, covered in flowing paint and honey, literally “emerging” from a torn canvas. This powerful imagery symbolizes the dissolution of the divide between art and life, emphasizing the transformative power of self-expression and creativity. The paint and honey flow over both the artist and the canvas, merging into a unified stream. The use of honey and bees adds an organic texture, enhancing the sense of vitality. The piece evokes the sensation of art coming to life, blurring the lines between the physical world and creative imagination, reminding us that art knows no limits.

JUNKYDUST (KSENIIA ZYBALOVA)

‘SASSY’

"Sassy" is a vibrant painting that draws inspiration from the immense and unyielding power of nature while embodying both femininity and modernity. Created using layered liquid techniques, it conveys fluidity and movement, reminiscent of flowing water The various textures, impasto strokes, and shimmering gold leaf highlight the richness of timeless beauty and spiritual depth The patina evokes the ocean's ancient roots, its constant energy, and its mysterious depth The female figure, blending traditional and modern elements, symbolizes inner strength, resilience, and boldness. High heels in the artwork represent ambition and the pursuit of new heights.

This piece invites personal interpretation, whether as a deep connection with nature or a reflection on one’s inner power. The radiant gold leaf eyes, visible from different angles, seem to vanish or follow the viewer, creating an intriguing, almost hypnotic effect that can only be fully appreciated in person.

Instagram: @junkydust

Website: junkydust tilda ws

JUNKYDUST (KSENIIA ZYBALOVA) ‘THROUGH THE CANVAS’

JUNKYDUST (KSENIIA ZYBALOVA)

‘SASSY’

JORGE VALLINA Miami-Based Innovative Artist With Carrebean Soul

Jorge Luis Vallina’s artistic journey is a vibrant mosaic of culture, technique, and passion that reflects his rich Cuban heritage, love for the sea, and exploration of avant-garde themes Born in Havana, Cuba in 1959, Vallina has become one of Miami's most innovative artists, celebrated for his bold style, diverse mediums, and captivating interpretations of life through art With a career that spans continents and decades, his works have graced galleries, private collections, and commercial spaces around the world

Vallina’s journey began in the heart of Havana, where his early experiences sparked a lifelong love for art After relocating to Madrid for three years, he immersed himself in the timeless techniques of Spanish master Diego Velázquez, adding a classical dimension to his already innate creative talents Today, Vallina resides in Miami with his wife and daughter, drawing inspiration from the colorful, eclectic city that has become a second home. His education includes a Bachelor of Fine Arts in Graphic Design and Illustration, alongside a Minor in Psychology fields that shape his understanding of human emotion and expression through art

Vallina’s artistic versatility is one of his defining characteristics His work spans a variety of styles, from meticulous graphic design to vibrant, larger-than-life paintings He is skilled in an array of mediums airbrush, pencil, acrylics, oils, collage, and even cutting-edge digital imaging programs Whether he is capturing the soul of the Caribbean with its bold colors or exploring the rhythm of music festivals, his works are an explosion of creativity.

His Cuban cigar series is a vivid tribute to his roots, reflecting the richness of his homeland and its iconic symbols These artworks combine a kaleidoscope of tropical hues and art deco influences, paying homage to both his Cuban heritage and the dynamic energy of Miami

Meanwhile, his fishing art series brings to life his deep connection to the sea For Vallina, fishing is not just a pastime it’s a passion, one that he pours into his canvas with every stroke, encapsulating the freedom and peace he feels on the water

JORGE VALLINA

‘YEMAYA’

But it’s in his funky, festival-inspired pieces that Vallina truly unveils his most avant-garde self Here, he merges spirituality, cultural exploration, and maximalist design, offering viewers a window into his mind’s kaleidoscopic interpretation of the world His work is not only about aesthetics; it’s a celebration of life itself, vibrant, energetic, and full of meaning

Jorge Luis Vallina’s talent has earned him a reputation as a sought-after commercial artist Over the years, he has collaborated with a diverse range of prestigious clients, from Lufthansa and Bacardi to The University of Miami, Columbia Healthcare, and Men’s Health Magazine. His artwork has also been featured in Reader’s Digest, Ocean Drive Magazine, and the Miami Herald, further cementing his place as a key figure in the world of design and illustration.

Among his most notable commissions is the creation of a custom logo and packaging for Baseball Hall of Fame inductee Billy Martin, the legendary manager of the New York Yankees Vallina’s artistic contributions have also graced the portraits of influential figures, such as former University of Miami President Tad Foote, whose commissioned portrait was recognized with an award for excellence by the Florida Press Association

Vallina’s artwork has been showcased in renowned galleries and museums, including the Lowe Art Museum at the University of Miami, the Broward Art Guild Museum of Art, and the Bacardi Art Gallery. His pieces have also been featured at events like the Miami Billfish Tournament, where his nautical and fishinginspired works resonate with the event's coastal energy.

His accolades don’t end with gallery shows Vallina’s work has been highlighted in numerous publications, from North Light Books to AIGA Miami, marking him as a key figure in the art and design communities His art has even appeared on radio programs, including Universo Marino Miami, expanding his reach to an ever-growing audience

For Vallina, art is not just about creating; it’s about passing on his knowledge and love for the craft He has taught classes in illustration, painting, and drawing at the University of Miami, inspiring the next generation of artists In addition to his academic teaching, he frequently conducts workshops for private and public institutions, offering his expertise and mentorship to those eager to learn

Vallina’s work can be found in private and corporate collections across the United States and beyond His pieces have found a home with a wide range of clients, from university professors like Dr. J Lorand Matory of Harvard University to prominent business leaders like Mr. Pedro Pelaez Sr., the owner of Paneltronics Inc. His art continues to resonate with collectors and organizations that appreciate both its technical skill and emotional depth

From his early days in Cuba to his current life in Miami, Jorge Luis Vallina’s art has remained a powerful expression of his identity, passions, and observations His ability to blend culture, history, and modern-day influences has made him a trailblazer in the world of contemporary art Whether through his dynamic paintings, commercial designs, or thoughtful commissions, Vallina’s legacy is one of relentless creativity, a testament to the transformative power of art

ANASTASIA OVSYANNIKOVA

‘FULFILMENT 10 3’

Art Innovation of the Issue

ANASTASIA OVSYANNIKOVA. FULFILMENT 10.2

Linen canvas, acrylic and spray enamel paints, texture paste. D-39 inches. 2024.

The project “Fulfilment” represents a synthesis of my knowledge and experience in both art and science. In this artistic project, I continue my in-depth exploration of quantum art, neuroaesthetics, and the symbolism of contemporary visual language. I use fish as an archetypal symbol, a powerful emblem of prosperity, creating an energetic message. Additionally, I pay particular attention to the psychology of color. The blue tones reveal the energy of abundance and wellbeing, helping the viewer engage with the artwork on a deeper level.

Lastly, numerical codes carry significant meaning in this piece. The painting depicts 44 fishes. The number 44 is associated with leadership qualities, abundance, and angelic protection.

ANASTASIA OVSYANNIKOVA

ANASTASIA OVSYANNIKOVA. FULFILMENT 10.3

Linen canvas, acrylic and spray enamel paints, texture paste. D-39 inches. 2024.

This painting depicts 7 fish. The number 7 is the most mysterious and magical number in the universe, symbolizing the fullness and unity of the world. Seven represents wisdom, holiness, and secret knowledge; it embodies the ancient human fascination with understanding nature. This number holds the key to the great mystery of the universe: "The Secret of the Seven Seals." In many cultures, the number 7 is a symbol of luck

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@NASTIA OVSYANNIKOVA

ANASTASIA OVSYANNIKOVA

‘FULFILMENT 10.2’

J V N C L R K

T H E A R T O F B E C O M I N G

JVNCLRK (JOVAN CLARK)

Originally from Lancaster, PA, JVNCLRK began creating in various mediums at a young age. Always curious, he had an innate understanding that by exploring himself and the world around him, he could channel and release his experiences through artistic expression.

He empha understand Studying is obstacle in y

For JVNCLRK, art is a process of peeling back layers of himself through his collections.

He is entirely self-taught, whether in painting, drawing, photography, fashion design, writing, or engineering He believes that being selftaught has allowed him to create without the constraints of traditional education or external influences dictating his process. His artistic philosophy centers on the idea that art should be a reflection of the artist—evolving as they do.

In 2022, he explored themes of nature and home in THE PROGRESSiON COLLECTiON With over 250 invitees, the event was a night filled with entertainment and marked his first public art exhibition. This experience brought greater attention to his work and led to his first sale as a professional artist.

Since moving to Miami, JVNCLRK has continued expanding his creative reach across various artistic and entertainment fields as a model, influencer, stylist, and creative director, to name a few.

Recently, he created over 50 pieces for his latest collection, FEELiN BLUE, which was inspired by his healing journey over the past two years. This collection embodies themes of reflection, healing, peace, and resilience.

JVNCLRK’s ultimate message was that "feeling blue" isn't always negative; it can be a space for shedding layers and beginning anew.

Now recognized as a multifaceted artist and entrepreneur with a bright future, JVNCLRK is dedicated to self-growth and his many creative ventures across the U.S. He is focused on expanding his brand and finding new ways to provide value whether through art, education, financial assistance, or simply offering a helping hand. He believes that everything starts with the self. And as we better ourselves, we can better the world around us. JVNCLRK.COM Instagram: @jvnclrk

THE RISE OF METAMODERNISM

Art has always been in dialogue with its era. After the rigid structures of modernism and the subversive irony of postmodernism, a new concept emerged metamodernism. First introduced in 2010 by cultural theorists Timotheus Vermeulen and Robin van den Akker, metamodernism is defined by its oscillation between sincerity and irony, utopia and disillusionment, naïve belief and the awareness of its impossibility.

Unlike its predecessors, metamodernism does not seek to dismantle the past but rather to reinterpret it, creating a space where contradictions can coexist.

When I first encountered this idea, it resonated deeply. It felt like an undeniable reflection of our time—a constant swing between cynicism and hope, between the desire to believe and the pull of critical reflection. I realized that metamodernism is more than just an artistic movement; it is a global cultural shift that encapsulates the spirit of our era.

MODERNISM, POSTMODERNISM, METAMODERNISM: WHAT’S THE DIFFERENCE?

To understand metamodernism, we must first look at what came before:

Modernism (19th–20th century): Built on faith in progress, objectivity, and clear structure It was an era of rational design, clean lines, and utopian ideals

Postmodernism (mid-20th century–present): Rejected modernist ideals, deconstructed meaning, and challenged objective truth. It embraced irony, eclecticism, and pastiche. Metamodernism: Bridges the two. It allows an artist to be sincere while fully aware that sincerity itself is a construct. It employs irony not to destroy, but to search for new meaning.

ARTWORK BY OLAFUR ELIASSON REVIEW: YULIA MAMONTOVA

When explaining this concept to future visitors of MoMAS (Museum of Metamodern Art Space), a metaphor came to mind:

Imagine a modernist artist building a majestic bridge across a river, believing it will unite both sides forever. A postmodernist arrives and declares, "This bridge is meaningless; everything is subjective," and tears it down. Then, a metamodernist comes along and rebuilds the bridge but this time, they understand it is not eternal, that the river is ever-changing, and everything may shift Yet, they build it anyway because without bridges, we cannot move forward

METAMODERNISM AS A CULTURAL EMOTION

Metamodernism is more than an artistic trend it is a way of experiencing the world It is the state of being both ironic and serious, confident and doubtful, dreaming while knowing that dreams may never come true yet choosing to dream anyway.

We live in an era where technology allows us to exist in multiple realities simultaneously, shaping new forms of self-expression.

HOW DOES METAMODERNISM MANIFEST IN ART?

In art, metamodernism balances deep personal emotion with the awareness of its constructed nature It is reflected in paintings inspired by romantic ideals yet digitally altered, in sculptures that are both profound and parodic Artists such as Takashi Murakami, Adam Miller, and Olafur Eliasson embody these paradoxes in their work

ARTWORK BY TAKASHI MURAKAMI

ARTWORK BY TAKASHI MURAKAMI

ARTWORK BY ADAM MILLER

ARTWORK BY ADAM MILLER

In architecture, metamodernism fuses retro-futurism with contemporary technology In fashion, it reinterprets nostalgia without blindly idealizing the past

As our team at MoMAS searched for artists to exhibit, we were struck by the diversity of metamodernist expression One artist painted with absolute sincerity his works filled with light and hope yet paired them with texts that deconstructed their own imagery Another borrowed the stylistic grandeur of the Baroque, intertwining it with pop culture references This is when I realized: Metamodernism is not a style it’s a mindset It allows us to connect the unconnectable

METAMODERNISM IN EVERYDAY LIFE

We are already living in a metamodernist world: Memes that are both funny and deeply melancholic Conscious consumerism, where we recognize the paradox of our choices The revival of retro aesthetics, but without illusions about a "golden age " We don’t just accept the duality of the world we learn to navigate it

I experience metamodernism every day. It’s in the way we engage with social media, where we can laugh at something while understanding its depth It’s in how we dress, mixing vintage elements with ultra-modern silhouettes It’s in how we view the world acknowledging its complexity without abandoning meaning

THE MUSEUM OF METAMODERN ART SPACE: A PLACE FOR NEW ART

When creating MoMAS, we aimed to showcase how metamodernism is transforming our perception of art and reality. We provide a platform for artists whose work exists on the threshold between raw emotion and the awareness of its artifice Our exhibitions explore a world where irony and sincerity coexist

To me, MoMAS is more than just a museum it is a space where people can feel free A place where one can be sincere while also understanding that sincerity itself is part of the game Where one can laugh and grieve at the same time Where one can rediscover faith in art even if they have already been disillusioned by it

Metamodernism is a movement where past and future are not enemies but participants in a dialogue It is a space where we can believe, but not blindly Where we can joke, but not to destroy rather, to create

It is the art of a new era one that has already begun

MoMAS - The Museum of Metamodern Art Space

Tellal Niyazi Sk. No:5, Şekerhane, 07400 Alanya / Antalya, Turkey

Instagram: @museum momas

ARTWORK BY OLAFUR ELIASSON

ARTWORK BY ADAM MILLER

YULIA

TURKEY

Best Technique of the Issue

SHAKHNABAT

‘ANCIENT CARPETS’ SERIES PASTEL ON PAPER

SHAKHNABAT ALIMAGOMEDOVA: THE MYSTERY OF TAPESTRY

Shakhnabat is one of the most prominent modern artists from Dagestan, a hereditary carpet master, and a fine art curator. She is also the Director of the Art Museum "Center of Ethnic Culture" in Dagestan. She graduated from the Repin Academy of Arts in Saint Petersburg, Russia, and has participated in more than 15 solo and group exhibitions around the world

From the age of 4, Shakhnabat was involved in the craft of handmade carpet-making and has continued to practice these skills throughout her life.

From 1995 to 2004, she worked as an artist at the Ornament Carpet Factory in Makhachkala, Dagestan. During her time there, Shakhnabat developed eight carpet pattern compositions and restored five lost vintage carpet patterns. This ancient knowledge has made her painting culturally authentic and unique.

SHAKHNABAT

‘SPRING IN MOUNTAINS’ OIL ON CANVAS

SHAKHNABAT

‘ANCIENT CARPETS’ SERIES PASTEL ON PAPER