38 Mariella Rauhala 40 Marko Viljakka 42 Miia Kallio 44 Nonna-Nina Mäki
46 Paula Mikkilä
48 Peter Maury
50 Pirjo Hassinen
52 Päivyt Niemeläinen
54 Raija Kuisma
56 Riitta Kilpi
58 Sari Poijärvi
60 Seppo Lagom
62 Sirkka Laakkonen
64 Sirpa Heikkinen
66 Tapio Hyvönen
68 Taru Mäntynen
70 Ursula Kianto
72 Elsebeth Malmsten 74 Monika Kiviniemi
76 H-Haering
78 Christopher König
80 Re-signifying the Textile Waste of the Atacama Desert
86 Adriano Batista
88 Ângela Vielitz
90 Beatriz de Carvalho
92 Beth Melro
94 Bruno Guerchon
96 Cláudia Sperb
98 Claudio Lobato
100 Henrique Aquino
102 Helena Manzan
104 Ivaan Hansen
106 Jorge Rosa
108 Luciane Villanova
110 Luísa Mathey Settanni
112 Luiz Cavalli
114 Manuel Brotons
116 Marcos Askard
118 Marcus Frade
120 Mayawari Mehinako
122 Maria Lúcia Montemór
124 Nelson da Tribo
126 Neuza Petti
128 Paulo Rosae
130 Pedro Teixeira Prandini
132 Rodrigo de Matos Rocha
134 Rosi Araujo
136 Sheila Rèis
138 Silvio Ferraz
140 Solange Greco
142 Yana Purger
Seitsemäs BELA Biennaali yhdistää eurooppalaista ja latinalaisamerikkalaista nykytaidetta korostaen monimuotoisuutta, alkuperäiskansojen kulttuuria ja luonnon kestävää säilyttämistä.
Tapahtuma esittelee teoksia useista maista ja edistää kulttuurista vuoropuhelua. Tapahtuma pyrkii edistämään taiteellista monimuotoisuutta ja kulttuurien välistä ymmärrystä, samalla kun se korostaa kestävän kehityksen periaatteita ja alkuperäiskansojen kulttuuriperinnön säilyttämistä.
Maailman alkuperäiskansojen päivää vietetään 9. elokuuta. Alkuperäiskansoja edustaa BELA Biennaalissa saamelaisen Iria Čiekča Schmidt´in taideteokset ja brasilialaiset taiteilijat Rosi Araujo ja Mayawari Mehinako.
Haluamme kiittää taiteilijoita ja kaikkia, jotka ovat auttaneet toteuttamaan tämän tapahtuman.
The 7th BELA Biennial brings together contemporary European and Latin American art, emphasizing diversity, indigenous culture and sustainable conservation of nature.
The event presents artworks from several countries and promotes cultural dialogue. The event aims to promote artistic diversity and intercultural understanding, while emphasizing the principles of sustainable development and the preservation of indigenous cultural heritage.
The International Day of the World's Indigenous Peoples is celebrated on August 9. Indigenous peoples are represented at the BELA Biennale by the artworks of sámi Iria Čiekča Schmidt and Brazilian artists Rosi Araujo and Mayawari Mehinako.
We want to thank the artists and everyone who helped to make this event possible.
A 7ª da BELA Bienal reúne a arte contemporânea europeia e latino-americana, enfatizando a diversidade, a cultura indígena e a conservação sustentável da natureza.
O evento apresenta obras de diversos países promovendo um grande diálogo cultural. O objetivo do evento é promover a diversidade artística e a compreensão intercultural, enfatizando os princípios do desenvolvimento sustentável e a preservação do patrimônio cultural indígena.
O Dia Internacional dos Povos Indígenas do Mundo é comemorado em 9 de agosto. Os povos indígenas são representados na Bienal da BELA pelas obras de sámi Iria Čiekča Schmidt e dos artistas brasileiros Rosi Araujo KARIRI e Mayawari Mehinako.
Queremos agradecer aos artistas e a todos que ajudaram a tornar este evento possível.
Kiitos! – Obrigada! – Thank you!
Helena & Edson Cardoso
Project Team:
Maaria Märkälä curador / curator / kuraattori
Jari Järnström curador / curator / kuraattori Edson Cardoso curador / curator / kuraattori/ produção / production /tuotanto Helena Cardoso coordenação geral / coordination / koordinointi Leandro Ribeiro produção nacional / national production / paikallinen tuotanto Sami Luoto design Ailton de Oliveira design Renne Pereira Júnior design
Gloria Chan projeto social/social project
Solange Greco ICELA
Helena Severo ICELA
Angela Oker-Blom
Nature is my biggest source for inspiration. It has given me the deepest sense of wonder and my most extraordinary experiences. On my tours in the wilderness I have heard the glacier breathing, I have walked through a dancing forest and dwelt in the radiance of layers upon layers of stars in the desert and the mountains. The sketches and notes become my treasury. There is no place like planet earth, full of miracles and beauty.
I love clay. Clay is earth, living materia. When I work with clay I feel a connection. Thoughts, ideas, feelings cooperates with memories and ancient tales. My own as well as those the clay itself carries. At best it feels like music - my hands in a rhythmic dance with the clay. Miscalculations and dead ends belong to the work and often lead to surprising insights and discoveries. I have a need ot learn, investigate, examine. I find answers in books, science, news - all around me.
I am fascinated by Biomimicry. By studying strategies of living organisms in natures infinite encyclopedia we find effective solutions to human-made problems already invented by Nature. In my work I am looking for glimpses of hope to strengthen my belief in humanity and the future for planet earth.
Naturen är min största inspirationskälla. Det är där jag upplever känslan av förundran och samlar mina bästa upplevelser. På vandringar i ödemarker har jag hört glaciären andas, vandrat genom en dansande skog och badat i stjärnornas strålglans under nätter i öknen och i bergen. Skisserna och anteckningarna är skatter att ösa ur. Det finns ingen plats som moder jord - full av mirakler och skönhet. Jag älskar lera. Lera är jord. Ett levande material. När jag arbetar med lera kan jag känna gensvar. Tankar, idéer, känslor samarbetar med minnen och sägner - både mina egna och de materialet redan bär inom sig. Som bäst känns det som musik när händerna rytmiskt dansar över leran. Misslyckanden och irrfärder hör till. Ofta leder de till oväntade insikter och för framåt. Jag har ett behov att samla kunskap, forska, experimentera - lära mig förstå. Jag fascineras av böcker, arkeologi, vetenskap, nyheter. Att läsa om biomimik är resor i naturens outtömliga uppslagsverk. Genom att studera levande organismers funktioner och strategier utvecklas effektiva metoder att lösa människoskapade problem som naturen redan uppfunnit. Jag strävar i mitt arbete att återge glimtar av hopp som stärker tron på mänskligheten och planetens framtid.
Med slutna ögon / With Closed Eyes
45 x 54 x 35 cm mixed media 2022 - 2025
Anneli Loponen
Kuvanveistäjä, kuvataiteilija AMK
Sculptor, visual artist, University of Applied Sciences https://anneliloponen@gmail.com https://www.arslibera.com https://instagram.com/anneliloponen
Jäsenyydet / Memberships
MUU ry:n jäsen / Member of MUU ry Kuopion kuvataiteilijat ry Ars Liberan jäsen
Member of Kuopio Artists' Association Ars Libera Varkauden Kuvataideyhdistyksen jäsen
Member of Varkaus Visual Arts Association
Teokseni ovat veistoksia, installaatioita ja maa- ja ympäristötaideteoksia.
Veistos- ja installaatiotöissäni luonto ja sen eläimet ovat usein pääosassa. Taiteellisten prosessieni kautta syntyy kertomuksia metsässä asuvista taruolennoista ja elukoista. Käytän töihini ennakkoluulottomasti kierrätettyjä materiaaleja ja vanhennan usein teoksiani eri menetelmin. Työskentelyprosessi ja fyysinen tekeminen ovat minulle tärkeitä samoin kuin uusien tekniikoiden kokeilu ja haltuunotto unohtamatta leikkimielisyyttä. Teosten mittakaava ja menetelmät ovat vaihdelleet pienistä veistoksista tilallisiin installaatioihin, jotka alkavat elää uudelleen, kun ne valtaavat uuden tilan.Taiteilijana haluan puskea itseäni eteenpäin, keksiä uutta ja haastaa itseäni.
My works are sculptures, installations and works of land and environmental art.
Nature and its animals often play a central role in my sculptures and installations. My artistic processes create stories about mythical creatures and animals living in the forest. I use recycled materials in my work without prejudice and often age my works using different methods. The working process and physical making are important to me, as well as experimenting with and mastering new techniques, without forgetting playfulness. The scale and methods of the works have varied from small sculptures to spatial installations, which come to life again when they occupy a new space. As an artist, I want to push myself forward, invent new things and challenge myself.
Kesken jäänyt uni / Interrupted Sleep installaatio: keramiikka, puu, rautalanka, paperimassa, kangas, turkis installation: ceramics, wood, wire, paper pulp, fabric, fur 2024
Näyttely "Maan uumenissa" Outokummun vanha kaivos Kuvaus installaatiosta: Rakensin maailman, joka asettuu jonnekin todellisuuden ja mielikuvituksen väliin, jossa hämärrän luonnon ja ihmiskunnan välisiä rajoja. Yhtäältä ihminen kuolee, mutta myös versoo uutta elämää.
Exhibition "In the depths of the earth" Old mine of Outokumpu Description of the installation: I built a world that is somewhere between reality and imagination, where I blur the boundaries between nature and humanity. On the one hand, man dies, but also sprouts new life.
Antti Raitala
antti.raitala@gmail.com
Instagram: anttiraitala
Member of Finnish Painters Union
Antti Raitala (s.1964) on kuvataiteilija joka asuu ja työskentelee Helsingissä. Hän piirtää, maalaa, tekee veistoksia ja rakentaa installaatioita. Hänen työnsä ulottuu monien tyylien ja taiteen muotojen yli. Teoksissaan hän hyödyntää paljon kierrätysmateriaaleja. ”En varsinaisesti ole mikään keräilijä joka haalii varastot täyteen erilaista, mahdollisesti taideteoksiin sopivaa tavaraa, vaan suhteeni näihin materiaaleihin on hyvin valikoiva ja käsitteellinen. Jonkun esineen kanssa on voinut olla vuosien ”suhde” ennen kuin se on löytänyt paikkansa teoksessa siihen sopivien materiaalien ja mielleyhtymien kautta”
Antti Raitala (b.1964) is a visual artist who lives and works in Helsinki, Finland. He draws, paints, makes sculptures and build istallations. His body of work stretches across many styles and art forms. In his works of art, he utilizes a lot of recycled materials. ”Even though I am not exactly a collector -stocking up of different kinds of things that might be suitable for artworks -my relationship with these materials is very selective and conseptual. There may have been a ”relationship” with an object for years before it found its natural place in the art art work”
Kirkko / Church
23 x 23 x 16 cm
Esinekooste / Assemblage
Christine Candolin
https://www.instagram.com/ccandolin
https://www.ccandolin.fi
c.candolin@gmail.com
Master of Arts
Aalto University of industrial arts
Professional contemporary artist / Art & Science Producer
The chairperson of Athosry.fi
Member of the Integral Institute
The Desire to See -project on tour 2002-2006
The Sjählö9 the interdisciplinary group on tour 2013-2017
The Bülowstraße Berliln residency-project 2014-18
Project#2028 the interdiscliplinary group on tour 2021-
The Sign of The Times: 299 000 Meters Per Second valokuva / photo
Dan Palmgren
https://danpalmgren.com
Yritän maalata ateljeessani. Monesti huomaan, että valmiit teokseni muistuttavat maisemia, joita olen nähnyt suosikkimaassani Islannissa. Islannissa voi nähdä erilaisen maiseman joka ilmansuunnassa, yhden kuumaiseman ja kolme muuta. Voin jakaa maalaukseni kahteen ryhmään: spontaanit ja etukäteen suunnitellut. Monet maalaukset joita suunnittelen etukäteen sisältävät selkeitä muotoja, erityisesti reliefinomaiset työt. Reliefin kolmiulotteista pintaa voin kuitenkin myös jatkaa maalaamalla spontaanisti. Silloin syntyy usein abstrakteja maisemia ja joitakin ei esittäviä. Koen maalaukseni liiteleviksi neliöjuuriksi tai vastaaviksi – vastauksen kera tai ilman. Aina ei ole olemassa vastausta, mutta kysymys on aina olemassa.
I am trying to paint in my studio. Often, I notice that my finished works resemble the landscapes I have seen in my favorite country, Iceland. In Iceland, you can see a different landscape in every direction, one moon landscape and three others. I can divide my paintings into two groups: spontaneous and planned in advance. Many of the paintings I plan in advance contain clear shapes, especially relief-like works. However, I can also continue the three-dimensional surface of the relief by painting spontaneously. This often results in abstract landscapes and some non-representational ones. I feel that my paintings soar like square roots or something similar – with or without an answer. There is not always an answer, but the question is always present.
Muutama päivä sitten en tiennyt, että tämä paikka on olemassa / A Few Days Ago I Didn't Know This Place Existed 143 x 133 cm
pellille / oil on sheet metal
Eliya Zweygberg
Käytän teoksissani pääasiassa erilaisia metalliverkkoja. Minua kiehtoo materiaalin arkisuus, piikikkyys ja sen vaatimat työstömenetelmät, joiden avulla kylmä ja kova metalliverkko muovautuu ja siihen syntyy vaihtelevia pintastruktuureita. Vahvarakenteiset eläinveistokset rakentuvat useasta eri kerroksesta, kovan ja pehmeän, kevyen ja raskaan vaikutelman vuorotteluista. Suurikokoiset veistokset piilottavat sisälleen teräksestä valmistetun tukirangan. Käsittelen töissäni ihmisten ja eläinten vuorovaikutusta – sitä, kuinka koemme muunlajiset olennot ja miten jaamme yhteisen elintilan. Luonnon monimuotoisuus, ilmastonmuutos ja uhanalaiset eläimet ovat itselleni tärkeitä teemoja. Aloitan uuden veistoksen työstämisen aina silmistä eli katseesta, josta eläimen koko olemus muodostuu. Pyrin saamaan teoksiini häivähdyksen siitä mystisestä ja villistä maailmasta, johon ihmisellä ei koskaan ole täyttä pääsyä. Olen työskennellyt kuvanveistäjänä vuodesta 2017 ja teoksiani on ollut esillä useissa ryhmä- ja yksityisnäyttelyissä. Vuonna 2023 työstin Luonnontieteellisen museon 100-vuotisjuhlavuoden kunniaksi tilaustyönä yli kolme metriä korkean Urho-karhun.
I primarily use different types of wire mesh in my work. I'm fascinated by the material’s ordinariness, spikiness, and the demanding techniques it requires—how the cold and rigid wire mesh can be shaped and transformed into varied surface textures and soft forms. My animal sculptures are built in multiple layers that play with contrasts between hard and soft, light and heavy. The large-scale sculptures conceal a supporting steel frame inside them, making them robust and durable. My work explores the interaction between humans and animals—how we perceive other species and how we share our mutual living space. Biodiversity, climate change, and endangered species are important themes for me. I always begin a new sculpture with the eyes—the gaze—from which the entire presence of the animal takes shape. I try to capture a glimpse of that mysterious and wild world to which humans never have full access. I have worked as a sculptor since 2017, and my works have been featured in several group and solo exhibitions. In 2023, I created Urho the Bear, a commissioned sculpture over three meters tall, to celebrate the 100th anniversary of the Natural History Museum of Helsinki.
Raven
67 x 51 x 36 cm
metalliverkko, reikävanne / wire mesh, perforated metal strap 2025
Hannele Haatainen
Asun metsien ja järvien keskellä ja luonto ja eläimet ovat minulle hyvin tärkeitä. Maalaukseni ovat suuria ja ekspressionistisia ja maalaan vahvalla tunteella. Ihmiset, eläimet ja luonto, olemme kaikki samaa suurta perhettä.
I'm living in the middle of lakes and forests. Nature and animals are very important for me. My paintings are large and expressionists and I paint with strong feeling. People, animals and nature, we are all same great family.
Helena Kuulkers
My paintings are rooted in emotion and a lifelong search for truth. I’m especially inspired by African masks—their bold shapes, colours and cultural presence subtly echo throughout my work. Oil is my favourite medium, though I often experiment with charcoal and chalk I Iayer each canvas until it finds its voice.
Finland’s nature, with its shifting light and striking forms, stirs deep feelings within me. In my studio, I feel truly free—painting becomes a passage to another world.
I studied art in London and continued in Helsinki for over five years. Today, I work from my own studio and remain passionate about learning and evolving, even after four decades. I’ve exhibited in Paris, Tokyo, Málaga, Lisbon and Berlin, and I’m a proud member of the Espoo Art Association.
Maalausteni pohjana on tunne ja elinikäinen totuuden etsintä. Afrikkalaiset naamiot inspiroivat minua erityisesti – niiden rohkeat muodot, värit ja kulttuurinen läsnäolo heijastuvat hienovaraisesti teoksissani. Öljyvärimaalaus on lempitekniikkani, mutta kokeilen myös hiiltä ja liitua, kerrostan kankaan, kunnes se löytää oman äänensä.
Suomen luonnon valo, muodot ja värit herättävät minussa vahvoja tunteita. Ateljeessani koen todellista vapautta –maalaaminen vie minut kuin toiseen maailmaan.
Olen opiskellut taidetta Lontoossa ja jatkanut Helsingissä yli 5 vuoden ajan. Nykyään työskentelen omassa ateljeessani ja säilytän innon oppimiseen ja kehittymiseen – vielä 40 vuoden jälkeenkin. Olen ollut mukana näyttelyissä Pariisissa, Tokiossa, Málagassa, Lissabonissa ja Berliinissä, ja kuulun Espoon Taiteilijayhdistykseen.
The Empress of Ember Hues
80 x 100 cm oil color on canvas / öljyväri kankaalle 2025
Iria Čiekča Schmidt
Aiheet Iria Čiekča Schmidt´in taiteeseen tulevat pohjoisen luonnosta sekä suomalaisesta kulttuurista, mutta taustalla on myös useiden vuosien taidekoulutus. Čiekča Schmidt on syntynyt lähellä Pohjoista Jäämerta. Taideopiskelut toivat hänet Etelä-Suomeen ja ulkomaille. Hän ei ajatellut omaa alkuperäänsä, kunnes työskenteli Hollannissa ryhmässä, joka tutki etnisiä taiteita. Tällöin hän löysi oman taustansa ja on tehnyt useita maalaussarjoja saamelaisuudesta.
Iria Čiekča Schmidt´s art comes from the northern nature and Finnish culture but also the number of years of art education. Čiekča Schmidt was born near Arctic Ocean. The art studies took her to the south and abroad. She did not think about her own identity, until working with the group exploring etnic arts in Holland, she encountered her own background and made a series of paintings of Sámi.
Teosteni luomisprosessi on syvällisesti intuitiivinen. Se alkaa akryylimusteiden vapaudella – annan värien levitä ja muodostaa orgaanisia lammikoita ja roiskeita kostealle pinnalle. Tämä vaihe on leikkisä ja kokeileva, missä sattuma saa ohjata ja antaa teoksen ensimmäisen kerroksen elää omaa elämäänsä. Vähitellen teos alkaa puhua minulle, ja viimeistely öljyväreillä tuo siihen syvyyttä ja kerroksellisuutta, rikastaen sävyjä ja antaen lopullisen muodon sille, mikä ensin syntyi spontaanisti. Jokainen teos on matka, jossa hallittu kaaos ja harkittu sommittelu kohtaavat, heijastaen sisäisiä maisemia ja hetken tuntemuksia. Tämä teos, Myrsky nousee, ilmentää tätä prosessia voimakkailla väreillään ja dynaamisilla muodoillaan.
The creation process of my artworks is deeply intuitive. It begins with the freedom of acrylic inks – allowing the colors to spread and form organic pools and splatters on the damp surface. This phase is playful and experimental, where chance is given room to guide and let the artwork's initial layer live its own life. Gradually, the piece begins to communicate with me, and finishing with oil paints adds depth and layering, enriching the hues and giving final form to what initially emerged spontaneously. Each artwork is a journey where controlled chaos and deliberate composition meet, reflecting inner landscapes and momentary sensations. This work, Rising Storm, embodies this process with its powerful colors and dynamic forms.
Photo:
Myrsky nousee / Rising Storm
100 x 100 cm
akryyli kankaalle / acrylic on canvas
Kirsi Pylvänäinen kirsipylvanainen.com
Olen suomalainen abstraktin taiteen tekijä, jonka työskentely pohjautuu intuitioon, liikkeeseen ja luonnon inspiroimiin tunnelmiin. Maalauksissani yhdistyvät kerroksellisuus, herkkyys ja hetkellisyyden voima. Teokset syntyvät usein tunteesta ja hetken energiasta, ja niissä toistuu kaikuja metsästä, vedestä, valosta ja sisäisestä maisemasta.
Vuodesta 2019 lähtien olen pitänyt 1–2 näyttelyä vuosittain. Viime vuosina teoksiani on esitetty paitsi Suomessa, myös kansainvälisesti – muun muassa Brasiliassa. Työskentelen yleensä suurikokoisten akryylimaalausten parissa, joissa värin liike ja kerrosten vuoropuhelu muodostavat maalauksen ytimen.
Taiteilijan työskentelyä leimaa avoimuus tutkimiselle –niin sisäisen kuin ulkoisen maailman tarkastelulle. Taiteeni kutsuu katsojaa pysähtymään, aistimaan ja löytämään omat tulkintansa.
I am a Finnish abstract artist, whose work is rooted in intuition, movement, and atmospheres inspired by nature. My paintings reflect a delicate layering of emotions, texture, and light often emerging from a single feeling or moment in time. The essence of my art lies in the interplay of gesture, color, and the quiet rhythm of inner landscapes.
Since 2019, I have held one to two exhibitions annually. In recent years, my works have been exhibited both in Finland and internationally including a recent show in Brazil. I primarily work with large-scale acrylic paintings, where flowing brushwork and layered transparency invite the viewer into a contemplative space.
My artistic process is guided by openness to emotion, to stillness, and to the unknown. My paintings invite the viewer to pause, feel, and interpret freely.
Juni 100 x 150 cm akryyli kankaalle / acrylic on canvas 2025
Juni on hiljainen ylistys kuukaudelle, jolloin valo viipyy pitkään ja tuuli kantaa kaiken kevyesti. Maalauksen pehmeät sävyt kuljettavat katsojaa läpi muistojen ja toiveiden – niiden, joita ei tarvitse sanoittaa. Laventeli, ruusunpunainen ja utuiset harmaat rakentavat tilan, jossa hengitys syvenee ja mieli rauhoittuu.
Vaalea kaari halkoo kankaan kuin kesäilta: ohikiitävä, mutta merkityksellinen. Teos ei kerro yhdestä hetkestä, vaan siitä kokonaisuudesta, joka syntyy, kun on läsnä. Juni ei kiirehdi – se viipyy, kuten valo ikkunassa, juuri ennen iltaa.
Juni is a quiet tribute to the month where light lingers and the wind moves gently. Its soft tones invite the viewer into a space of memory and hope the kind that needs no explanation. Lavender, rose, and muted greys create a sense of calm where the breath slows and the mind settles.
A pale arc cuts through the canvas like a summer evening: fleeting, yet full of meaning. This piece doesn’t capture one moment, but a whole the kind that only forms when we are truly present. Juni doesn’t rush it lingers, like the last light resting on the window before night.
Olen monitaiteilija: kuvataiteilija, ympäristötaiteilija, runoilija, muusikko ja myös joogaohjaaja. Useimmiten ympäristö määrittää taiteeni materiaalit. Ympäristö, jossa elämme on paljonkin riippuvainen meistä. Taiteeni voi olla helpotus ja samaistumispinta monille tunteille tai se voi antaa ajatuksia miten olla ja toimia sopusoinnussa itsen ja luonnon kanssa.
Sydämen muoto on klisee, mutta tässä kontekstissa sydän muoto on elämänvoiman koti, ja nyt kaipaan rakkautta enemmän kuin koskaan ennen. Tässä ajassa en voi ummistaa silmiäni vihalta ja ahneudelta, mutta välillä tuntuu, että lamaannun kaikesta informaatiosta, mitä maailmalta tulee, etenkin kaikesta raakuudesta, jota en voi ymmärtää. Viha lisää vihaa. Rakkaus kasvattaa rakkautta. Relax, flow and grow.
”LOVE”-Relax, flow and grow.
I am a multi-artist: Visual artist; painting, environmental art, poetry and music and I am also yoga teacher. Often the materials of my art are from the environment. My art can be a relief and a surface for identification with many emotions or it can give ideas on how to be and act in harmony with oneself and nature.
The heart shape is a cliché, but in this context the heart shape is the home of our life force, and now I miss love more than ever. In this time I can't close my eyes to hate and greed, but sometimes I feel like I'm suffocating from all the information, which comes from the world, especially all the brutality, that I can't understand. Hate breeds hate. Love breeds love. Relax, flow and grow.
Työskentelyssäni keskeisiä teemoja ovat jo tovin olleet mm. sattuma ja ennalta-arvaamattomuus sekä elementit - maa, ilma, veri, vesi ja kasvillisuus. Sisällöt nousevat jokapäiväisistä maailman tapahtumista, joihin reagoin herkästi. Erilaiset ja eri syistä luonnossa tapahtuvat mullistukset järisyttävät mieltä. Yksi teosteni muoto on kaappi. Materiaalina ovat käytetyt lääkekaapit. Kaappien alkuperä yhdistää ne teemoihini. Oven avaaminen siirtää kokijan todellisuudesta toiseen, ohjaa katsomaan asioita toisista näkökulmista. Kaappien sisällä on valmistamiani keraamisia laatoituksia, valmisesineitä, peilejä, videota ja ääntä. Niissä voi olla aktiivisia kannanottoja tai hetkiä runollisista tunnelmista.
Key themes in my work have for some time included chance and unpredictability, and the elements – earth, air, blood, water, and vegetation. The content of my work arises in response to everyday world events, to which I am highly attuned. I am deeply affected by upheavals in nature – of many kinds and for many reasons. One of the forms my works take is the cabinet. I use repurposed medicine cabinets as my material. Their original function connects them closely to my themes. Opening a cabinet door transports the viewer from one reality to another, inviting them to see things from new perspectives. Inside the cabinets are ceramic tilings I have made, found objects, mirrors, video and sound. These may offer direct statements or capture moments of poetic atmosphere.
Kuvaaja:
30 x 36 x 13 cm
metallinen kaappi, käsin valmistetut keramiikkalaatat, peilit / old metal cupboard, hand made ceramic tiles, mirrors 2019
valokuva / photograph: Ulla-Mari Lindström
Vaikutelma (Impressio) / Impression
vanha
Maaria Märkälä www.maariamarkala.com
Maaria Märkälä on maisemamaalari, jonka maalauksiin vaikuttavat oma elämä ja arki, mutta myös tehdyt matkat. Koko maalausprosessi on taiteilijalle hidasta matkantekoa. Märkälä maalaa kerroksittain ja haluaa maalata päällimmäiseksi valon muistoksi elämän hyvistä puolista ja kauneudesta. Maaria Märkälällä on ollut lukuisia yksityisnäyttelyitä Suomessa ja ulkomailla. Hänen töitään on mm. Suomen Kansallisgallerian, Helsingin, Hyvinkään ja Kymenlaakson museoiden sekä HUS:n kokoelmissa sekä monissa koti- ja ulkomaisissa yksityiskokoelmissa.
Maaria Märkälä is a landscape painter whose paintings are inspired by her own everyday life and trips abroad. For Märkälä, the entire painting process is a form of slow travel. Märkälä paints in layers and wants to paint light on top as a reminder of the good aspects and beauty of life. Maaria Märkälä has held numerous private exhibitions in Finland and abroad. Märkälä's works are included, among others, in Finnish National Gallery, HUS, Helsinki Art Museum's collection and many private collections in Finland and abroad.
Valokuvannut: Katja Öhrnberg
Petals of Happiness from Some More Pink Champagne Series 155 x 130 cm oil on canvas 2025
Siivekkäät - toiminnallinen teos, 2020
Voit pukea siivet selkään ja lentää pari kierrosta. Tuntea kuinka ilmavirta kutittaa kainaloista ja olo kevenee! Teos kutsuu osallistumaan. Siivekkäät on osa installaatiosta Polkuja ja siivekkäitä. Teos on tehty Lappeenrannan taidemuseoon 2020. Mutta nyt on uusi aika ja lentoonlähdölle on edelleen tarvetta ja mahdollisuuksia. Joten lennetään!
Siivekkäät
Kultasiipi: 100 x 60 x 20 cm / Paksu perhonen: 60 x 50 x 10 cm / Metamorfoosi: 50 x 50 x 40 cm Rakentelu, ompelu, tupsupunonta, värjäys 2020
Winged Ones - participatory artwork, 2020
You can put on wings and fly a couple of laps. Feel how the air current tickles your armpits and makes you feel lighter! The work invites you to participate. Winged Ones is part of the installation Paths and Winged Ones. The work was made for the Lappeenranta Art Museum in 2020. But now is a new time and there is still a need and opportunity to take off. So let's fly!
Winged Ones
Golden Wing: 100 x 60 x 20 cm / Thick Butterfly: 60 x 50 x 10 cm / Metamorphosis: 50 x 50 x 40 cm
Olen Espoon rannikolla asuva ja työskentelevä kuvataiteilija, joka maalaa ekspressiivisesti öljyllä kankaalle ja akryylillä plekseille. Aiheet lähtevät luonnosta, mutta sotken maalausteni ilmentämää todellisuutta niin että katsoja joutuu tulkitsemaan värikylläisiä tai välillä myös ilmaisultaan pelkistettyjä teoksiani. Haluan tuoda teoksiini yllättävyyden lisäksi yhä enemmän huumoria, jolla saanen katsojan hyvälle mielelle ja helpommin miettimään aihettani. Esimerkiksi ilmastokriisi on jo niin selvää, että väistämättä koemme ympärillämme seikkoja, joita ei olisi voinut tapahtua vielä vuosikymmen siten.
I am a visual artist living and working on the coast of Espoo, Finland, and who paints expressively with oil on canvas and acrylic on plexiglass. The subjects are derived from nature, but I mess up the reality expressed in my paintings so that the viewer hopefully needs to struggle to interpret my colorful and sometimes even simplified works. I want to bring more and more humor to my works, in addition to surprise, with which I can put the viewer in a good mood and think about my subject. For example, the climate crisis is already so clear that we inevitably experience things around us that could not have happened even a decade ago.
Ajattelen usein töitäni vuoropuheluina. Ne ovat syntyneet keskustelusta minun ja paperin tai kankaan välillä. Värien, viivojen ja muotojen kautta olen jatkuvassa vuorovaikutuksessa pohjamateriaalien kanssa. Paperille roiskin tai painan väritahroja paperille, kankaalle tai puulle. Näin syntyy viittauksia, merkkejä, joihin reagoin spontaanisti ja työstän ne eteenpäin graafisin tai maalauksellisin menetelmiin. Improvisoin ja kokeilen, joskus käytän kollaasitekniikka. Yhdistelen vapaasti erilaisia materiaaleja ja tekniikoita keskenään. Viime aikoina olen käyttänyt öljyliituja tai puuvärikyniä saadakseni erilaisia pintoja ja syvyyksiä. Keskeinen teema, joka kiinnostaa ja inspiroi, on ihmisyys ja luonnon monimuotoisuus. Näyttelyn teokset ovat kukkia tai pikemmin fantasiamaailmoja kukkia muistuttavista muodoista. Ne ilmestyvät, kun työstän vapaasti väreillä maalattua pohjaa värikynillä eteenpäin. Luonnonmuodot paljastuvat pikkuhiljaa ja aloitus on, kuin kysymys jota käytän ohjauksena seikkailuun ja löytöön. Yllätykset matkan varrella voivat laajentaa aihepiiriä ja tuoda uusia näkemyksiä. Käyttämäni tekniikka, joka kasvaa kerroksittain, tukee teosteni sisällöllistä ja ilmaisullista moninaisuutta.
I often think of my works as results of a dialogue. They arise from a conversation between me and the base material. Through colours, lines and shapes, I constantly interact with what ́s happening on the surface. I splash or print color spots onto paper, canvas or wood. This is how allusions or signs occur to which I react spontaneously. I elaborate them further using graphic- or painting methods. I improvise and experiment, somtimes I use collage techniques. I freely combine different materials and techniques. Lately I have been using oil crayons and colour pencils to get different surfaces or more depth into the images. The overall theme that intrests me is humanity and biodiversity. The pieces on display are also descriptions that have arisen from traces made intuitively and spontaneously onto the base material. Lately I have been using colour pencil for a second layer to create detailed and defined organic shapes that resemble flowers or plants. These natural shapes reveal themselves gradually, and the beginning is like a question that I use as guidance for adventure and discovery. Surprises along the way can broaden the theme and bring new insights. The technique I use, which grows organically in layers, supports the content of my works and their expressive diversity.
Kaikuja / Echoes
60 x 60 cm
akryyli ja värikynä kankaalle / acrylic and colour pencil on canvas 2024
Mariella Rauhala
designer, visual artist, art educator
www.pophorn.fi
As an artist I rely on intuition and my academic interest lies in the phenomenology of perception. One observation leads to another, it encounters a memory and gives birth to a new one in bright and vibrant colours. My images include stories from trips abroad and foreign cultures, mixed with my own… and experiences in my everyday life - decorated with feathers, fur and hair - in the Finnish countryside. Nature is an endless muse as well as the pulsating metropolises around the world. In these stories I combine visual arts and design, which I consider the most natural media for me. In my mixed media, I combine photography, painting and computer-aided image processing.
Taiteilijana luotan intuitioon, ja akateeminen kiinnostukseni myös taiteessa on fenomenologia. Havainto johtaa toiseen, palauttaa muiston ja synnyttää uuden kirkkaissa ja puhtaissa väreissä. Kuvani ovat kerroksellisia tarinoita matkoiltani ja vieraista kulttuureista, jotka sulautuvat omaani,…ja kokemuksistani sulin, höyhenin ja karvoin koristellusta arkipäivästäni suomalaisella maaseudulla. Niin luonto kuin sykkivät suurkaupungit toimivat runsaudensarvena, muusana. Ilmaisutapani - kuvataiteen ja muotoilun yhdistämisen - koen luontevaksi. Sekatekniikassani yhdistän valokuvaa, maalausta ja tietoteknistä kuvan muokkausta.
MASTOGLOIA
90 x 60 cm
photograph, mixed media, computer graphics, digital print on cotton canvas 2025
Olen Marko Viljakka (s. 1966), taidemaalari ja kuvataiteen opettaja Varkaudesta. Taiteellinen työskentelyni on aina ollut teemallista. Siirryn uuteen teemaan yleensä vasta, kun koen, ettei entisestä teemasta ole enää mitään ammennettavaa. Aika tekee kuitenkin taikojaan. Olen huomannut, että vanhaan teemaan palaaminen saattaakin olla antoisa ja riemukas kokemus. Näin minulle kävi äskettäin saareke- ja varjoaiheisten maalausten kanssa. Varjot ja saarekkeet hiipivät uusimpiin maaluksiini 15 vuoden tauon jälkeen, ja se tuntuu hyvältä. Aion jatkaa niiden kanssa niin kauan, kunnes uusi teema taas valtaa niiltä tilaa.
I am Marko Viljakka (born 1966), a painter and art teacher from Varkaus. My artistic work has always been thematic. I usually move on to a new theme only when I feel that there is nothing more to gain from the previous theme. However, time works its magic. I have noticed that returning to an old theme can be a rewarding and joyful experience. This is what happened to me recently with my paintings on islands and shadows. Shadows and islands crept into my latest paintings after a 15-year break, and it feels good. I plan to continue with them until a new theme takes over from them again.
Karkaavat varjot (Fleeing shadows)
39 x 55 cm
öljyväri kankaalle / oil on canvas
Miia Kallio
www.miiakallio.fi
Miia Kallio (s.1972) on Helsingissä asuva ja työskentelevä keramiikkataiteilija (kuvataiteilija (YAMK), artenomi (AMK), HUK). Hän on toiminut keramiikkataiteilijana valmistumisestaan vuonna 1998 lähtien. Hänen työskentelynsä pohjaa materiaaliin, useimmiten suomalaiseen punasaveen. Kallio ajattelee käsillään: hän kokee teoksen syntyvän taiteilijan ja materiaalin välisenä yhteistyönä. Lasittamattoman pinnan kiehtovat mahdollisuudet Kallio tuo usein esiin joko kiillottamalla tai savustamalla teoksensa. Suomalainen punasavi on vaativa ja kärsivällisyyttä kysyvä materiaali. Kallio kokee ajattelunsa kiteytyvän juuri hitaan työskentelyprosessin aikana. Kallion käsityksen mukaan hitaat poltto- ja pintakäsittelymenetelmät syventävät teoksen merkitystasoja. Näyttelyteokset käsittelevät elämää mielenterveysomaisena. Esillä ovat kolme teosta, joissa kuvataan rajoitteita, joita sairaus asettaa. Ihminen rakentaa itselleen omassa mielessään ylittämättömiä esteitä. Turvallisesta kodista voi muodostua oman mielen vankila.
Miia Kallio (b. 1972) is a Helsinki-based ceramic artist (Master of Culture and Arts, Designer, BA in Humanities). She has worked as a ceramic artist since graduating in 1998. Her practice is deeply rooted in material, most often Finnish red clay, earthenware. Kallio describes herself as “thinking with her hands,” creating works as a collaboration between the artist and the material. She frequently highlights the fascinating possibilities of unglazed surfaces through techniques such as polishing or smoking. Finnish red clay is a demanding material that requires patience, and Kallio finds her thinking crystallizes through the slow process of working with it. According to Kallio, slow firing and surface treatment methods deepen the layers of meaning in her work. The art works explore life as a family member of someone with mental health challenges.Three works were exhibited that reflect the limitations imposed by mental illness. People often build insurmountable barriers in their minds, and a safe home can become a prison of the mind.
Olen maalannut viimeisien vuosien aikana paljon kierrätysmateriaaleille esim. kierrätyspöytäliinoille ja tekstiileille kaiken kokoisia värikkäitä, hieman naivistisia kerronnallisia maalauksia akryylisekatekniikalla. Agendani on tuoda tähän maailman aikaan ja vaativaan ilmapiiriin huumoria, keveyttä ja iloa. Haastan myös katsojaa ajattelemaan, luomaan positiivisia vaikutelmia, kyseenalaistamaan ja tuntemaan. Olen kuvataiteilijan työn lisäksi ratkaisukeskeinen kuvataideterapeutti. Teoksissani seikkailevat eläimet erilaisissa tilanteissa ja hahmoissa, hieman taianomaisissa tarinoissa. Vietän tänä vuonna 2025 30-vuotis taiteilijajuhlaani, sillä valmistuin kuvataiteilijaksi 1995. Olen siitä lähtien pitänyt näyttelyitä ja teoksiani on ollut esillä ympäri maailmaa.
In recent years, I have painted a lot of colorful, slightly naive narrative paintings of all sizes on recycled materials, e.g. recycled tablecloths and textiles, using acrylic mixed media. My agenda is to bring humor, lightness and joy to this world's time and demanding atmosphere. I also challenge the viewer to think, create positive impressions, question and feel. In addition to my work as a visual artist, I am a solution-focused visual arts therapist. In my works, animals adventure in different situations and characters, in slightly magical stories. This year, 2025, I will celebrate my 30th anniversary as an artist, as I graduated as a visual artist in 1995. Since then, I have held exhibitions and my works have been exhibited all over the world.
Peurauni / Deer Dream noin 90 x 40 cm / about 90 x 40 cm akryyli, sekatekniikka / acrylic, mixed media 2020
Paula Mikkilä www.paulamikkila.fi paulak.mikkila@gmail.com www.instagram.com/paulakyllikkimikkila/ https://m.facebook.com/paula.mikkila.9
Nelisenkymmentä vuotta vierähti opetustyössä. Merkittävän osan luovuushetkistä jaoin luokkahuoneessa lasten ja nuorten kanssa. Taidematkat, maalaaminen ja viimeisinä vuosina erityisesti kuvanveisto kulkivat päivätyöni rinnalla. Pronssi- ja keramiikkaveistoksillani kuin myös maalauksillani olen ottanut osaa moniin yhteisnäyttelyihin niin kotimaassa kuin ulkomailla. Yksityisnäyttelyjä olen pitänyt sekä Suomessa että ulkomailla. Taideyhdistystoiminnassa olin mukana kymmenisen vuotta; jäsenenä, sihteerinä ja pari vuotta puheenjohtajana. Päätoiminen kuvataiteilija olen ollut kymmenen vuotta. Minut on valittu Tampereen sekä Jyväskylän Taiteilijaseuran jäseneksi. Aiheet teoksiini saan kodista, luonnosta, ihmisistä ja eläimistä. Veistokseni synnyttävät tarinoita. Taiteilijan aika kuluu siivillä. Ehkäpä siksi moni veistokseni on saanut siivet selkäänsä. Tällä hetkellä savi kiehtoo minua kovasti ja siksi teen keramiikkaveistoksia. Maalauksessa käytän monipuolisesti värejä. Akryyli- ja öljyväri näyttelevät pääosaa. Veistoksiini olen yhdistellyt mm. vanhoja valokuvia ja lasia. Pitsinen pinta antaa raskaimmallekin veistokselle sipauksen keveyttä.
Some forty years elapsed for me working as a primary school teacher. Thus, a significant number of my creative moments were shared with children and teen-agers. Alongside my work, I travelled on art trips, painted, and, in particular in the last years, immersed myself in the art of sculpture. My bronze and ceramic sculptures, as well as my paintings, have featured in a number of joined exhibitions at home and abroad. I have also held solo exhibitions both in Finland and abroad. In addition, I was active in art societies for about a decade – as a member, secretary and finally chair for two years. I have been a fulltime artist for the last ten years, and am a member of the Artists’ Associations of both Tampere and Jyväskylä in Finland. My art work is inspired by the home, nature, people, and animals. In my paintings, oil and acrylic paints play the key role, and I like to use colours in plentiful ways. My sculptures, on the other hand, bring about stories. For an artist, time flies. Perhaps that is also why many of my statuettes have acquired wings. Currently, I am very much fascinated by clay and have, therefore, focused especially on ceramic sculpting. In my statuettes, I have merged, for example, old photographs and glass. A lacy surface gives a light touch even to the heaviest of sculptures. You can learn more about my art on Instagram (@paulakyllikkimikkila) or on my home page where you can also find my CV.
Pieni valkoinen hetki / Little White Moment
13 x 45 x 11 cm pronssi / bronze 2011
Peter Maury
www.kuvataiteilijamatrikkeli.fi/en/artists
Keravan taidemuseon Kipu - näkökulmia kivun anatomiaan- näyttelyn katalogissa, kuraattori, tait. tri. Mika Karhu kirjoittaa: “Peter Maury on hyvä esimerkki nykytaiteen laajentuneesta kentästä. Töissään hän hyödyntää omaa osaamistaan (molekyylibiologia), mutta laajentaa temaattista kenttäänsä oman spesiaalialueensa ulkopuolelle. Esimerkiksi hänen vuonna 2006 AVA-galleriassa Helsingissä esittämänsä installaatiot olivat visuaalisia kannanottoja globalisaation jälkeiseen, postfossiiliseen aikakauteen, ensisijaisesti taloudellista hyötyä tavoittelevaan kulttuuriin, joka on kuluttanut loppuun kaikki fosssiiliset polttoaineet ja nostanut maapallon lämpötilan pysyvästi”.
Peter Maury´s artistic work deals with existential issues. Given the importance of time and space in his works, these elements are not only conceptually present, but are reflected in the material itself (rusty metal plates) and its treatment (ongoing time-dependent oxidation). The oxidation process structuralizes and colorates the plates in a self-catalyzing way that deconstructs the surface to reveal a deeper, more complex layer. On a conceptual level, a journey into a transliminal zone of mind is depicted. Peter Maury has presented his works at several national and international exhibitions, including museums and galleries in Sao Paolo, Milano, Prague, Stockholm and New York. He is member of AAF, Artists´Association of Finland and Muu ry, Finnish Artists´ Association.
Olen kuvataiteilija ja valmistunut Taiteen maisteriksi Kuvataideakatemiasta. Olen pitänyt lukuisia yksityisnäyttelyitä Suomessa sekä osallistunut useisiin yhteisnäyttelyihin Suomessa ja ulkomailla. Työskentelen akvarellein ja akryylivärein maalaten. Piirustuksia teen tussilla.
I`m artist and graduated in Fine Art Academic School. I have had many solo exhibitions in Finland and have had several group exhibitions in Finland and abroad. I work with aquarelles and acrylic. I draw with ink. Paint and draw the world.
Magic world – magic art. Truly life.
It`s Good ink in linen / tussi pellavakankaalle
30 x 42 cm
Art Is ink in linen / tussi pellavakankaalle
25 x 34 cm
Päivyt Niemeläinen
Visual artist , textile artist, MA www.paiytniemelainen.fi pniemelainen@yahoo.com +358(0)407156544 Helsinki
JÄIDEN LÄHTÖ
Kevättalvella joka vuosi luonnonvoimat taistelevat vallasta. Talven hiljaisuus murenee. Kevään lämmetessä vedet alkavat vapautua talven jääkahleista. Järvien ja jokien jää paukkuu ja ryskyy halkeillessaan ja hajotessaan, tuuli puskee jäälohkareita röykkiöiksi ja barrikadeiksi. Jokien voimakas virtaus työntää jäitä eteenpäin. Joskus muodostuu patoja, vesi pääsee kyliin, peittää peltoja ja teitä. Tämä suuri luonnonvoimien ylivalta on teokseni kertomus. Teokseni JÄIDEN LÄHTÖ kuvaa talven väistymisen voimanpurkausta kevääseen heräävässä luonnossa. Se on sekatekniikkateos, puukuitulevylle puupohjaisista materiaaleista. Näitä rakenneteoksiani on ollut näyttelyissä ja kansainvälisissä taidejulkaisuissa vuodesta 2005 alkaen. Mieluiten käytän näihin töihini kierrätettyjä materiaaleja, joihin arki on jättänyt jälkensä. Nämä teokseni edustavat Arte Povera -taidesuuntaa. Olen maalannut myös öljyväriakvarelli- ja vahateoksia sekä tehnyt installaatioita.
DRIFT OF ICE
Every year in the spring-winter the forces of nature fight for power. The silence of winter crumbles. As the spring weather warms, the waters begin to break free from the schackles of winter ice. The ice cracks with a bang and a crash, the wind pushes the ice blocks into heaps and barricades. The strong flow in rivers pushes the ice forward. Sometimes dams form, and the water reaches villages, covering fields and roads.
I have wanted to depict this impressive natural event in my work DRIFT OF ICE. It is the mixed media work, made of wood-based materials on fiberboard. My structural works have been featured in exhibitions and International art publications since 2005. I prefer to use recycled materials in these works, on which everyday life has left its mark. These works of mine represent the Arte Povera art movement.
Jäiden lähtö / Drift of Ice
90 x 180 cm yhteensä, 2 osaa vierekkäin sekatekniikka kuitulevylle
Olen porilainen kuvataiteilija. Työskentelen valokuvan, maalauksen, keramiikan ja tekstiilin parissa. Uusimmat teokseni ovat useimmiten valokuvateoksia. Otan paljon valokuvia luonnosta ja ihmisistä. Muokkaan ja muuntelen kuvia kulloiseenkin teemaan sopivaksi. Luonto sekä villinä että ihmisen muokkaamana antaa lukuisia kiinnekohtia ja elämyksiä itselleni. Olen alun perin maaseudulta kotoisin, mutta kaikkein suurimmat elämykset olen saanut lukuisilta matkoiltani ympäri maailmaa. Luonto ja ihmiset eri puolilla tätä vielä niin monipuolista maapalloamme eivät lakkaa hämmästyttämästä minua. Yritän nähdä hiukan yli sen mikä on todellista, ei silkkaa fantasiaa, mutta todellisuuden lisäksi henkisyyden, joka on kaikkialla ympärillämme. Tekemäni teokset vedostan lasille, polykarbonaatille, alumiinille, vanerille, paperille, kankaalle; aina haluamani vaikutelman saavuttaakseni. Teokset ovat aina uniikkeja.
I am a visual artist from Pori, the western coast of Finland. My means for my art is photograph, painting, ceramics or textile art. My newest artworks are mainly based on photos. I take a lot of photos in nature as well as of people. I modify my photos according to a theme which I am presently using. Nature, wild or shaped by humans does not cease to amaze me. I come originally from the country but the best experiences I have had during my numerous travels around the world. I try to see a bit beyond reality, one could probably say that some spirituality around us. I print my art work on glass, polycarbonate, aluminum, plywood, paper, canvas; what ever seems suitable to get the idea I am trying to achieve. Every art piece is totally unique.
Minun jokeni / My River 30 x 100 cm valokuva lasille / photograph on glass 2025
Riitta Kilpi
riitta.kilpi@kolumbus.fi
Olen suomalainen kuvataiteilija, asun Helsingissä, jossa myös studioni on. Luonto on minulle tärkeä ja ideoiden lähde maalaukselleni, erityisesti vesi, joka on jatkuvasti muuttuva elementti ja tuttu minulle purjehdusvuosistani. Väreillä työskentely inspiroi minua, samoin kuin maalauksen aikana kuulemani musiikki. Etsin kauneutta jokapäiväisessä elämässä ja haluan ilmaista sen maalauksissani. Viime aikoina olen siirtynyt kohti yhä abstraktimpaa ilmaisua. Olen maalannut vapaa -ajallani enimmäkseen öljyväreillä yli neljäkymmentä vuotta ja osallistunut useisiin näyttelyihin, sekä yksityis- että yhteysnäyttelyihin myös ulkomailla. Taidetaitojeni kehittämiseksi olen vuosien varrella osallistunut useiden opettajien alaisuudessa erilaisiin opintoryhmiin ja taidekouluihin.
I am a Finnish visual artist living in Helsinki where my own studio also is. Nature is important to me and a source of ideas for my painting, and water in particular, being an ever-changing element and familiar to me from my years of sailing. Working in colours inspires me, as does the music I hear while painting. I look for beauty in everyday life and want to express it in my paintings. Lately I have moved towards an increasingly abstract way of expression. I have in my leisure time painted mostly in oil colours for over forty years and participated in several exhibitions, both solo and joint, also abroad. To develop my art skills, I have over the years participated in various study groups and art schools under several teachers.
Abstraktinen puutarha I & II / Abstract Garden I & II
81 x 60 cm öljyväri kankaalle / oil color on canvas
Yksi bienniaalin teemoista on kestävä kehitys, ja se vei minut muistoihin, takavuosiin, jolloin tuli lennettyä surutta paikasta toiseen. Matkustettua busseilla turistina kohteesta toiseen ihmettelemään paikallisia nähtävyyksiä; Bahrain, Syyria, Tunisia, Turkki, Romania, Bosnia-Herzegovina, Serbia, Kreikka, Islanti...
Näyttelyn kuvassa turistina Bahrainissa ihmettelemässä kuuluisaa yli 400 vuotta vanhaa Elämän Puuta, joka seisoo yksinäisenä kukkulalla Sakhirin autiomaassa, noin 40 kilometriä pääkaupunki Manamasta etelään. Olen valokuvataiteilija, asun ja työskenten Helsingissä.
One of the biennial themes is sustainability, which brings back memories of a time long ago – when we flew without a second thought, here and there and back again, to witness the wonders of the world: Bahrain, Syria, Tunisia, Turkey, Romania, Bosnia and Herzegovina, Serbia, Greece, Iceland...
In my photograph which I took as a tourist in Bahrain, I’m visiting the Tree of Life ( Shajarat-al-Hayat). This remarkable tree, estimated to be over 400 years old, stands alone in the southern Sakhir Desert about 40 kilometers south of Manama. I'm a photographic artist living and working in Helsinki.
Those Were The Days 130 x 130 cm tulostettu Hostaphan PET-kalvolle / printed on Hostaphan PET film painettu Latex-pohjaisilla painoväreillä / printing Ink Colors Latex teos valmistettu markprint/ tkpprint/ vastaava painaja Marcus Wikström
Printed at markprint/ tkpprint/ by Marcus Wikström 2025
Seppo
Lagom
Teoksieni aihemaailman olen löytänyt vuosien saatossa luonnosta. Liikun mielelläni vaihtelevissa maisemissa sekä metsissä, tehden havaintoja tietoiseen minääni ja alitajunta muokkaa niistä kuvia, joita piirrän esittäviksi. Näitä luonnoskirjoja on täyttynyt ajanmittaan runsaasti, on tärkeää työskentelylleni, että näen niitä, ne kehittävät omaa näkemystäni ja persoonallisuuttani. Teokseni syntyvät työhuoneellani, käyn vapaasti uuden teoksen kimppuun ja se tulee alitajunnasta tietoiseen minääni. Aihe joka on tulossa on minulle luonnosta tuttu, muodot ja värit tulevat rakentumaan vaihe vaiheelta minun luonteiseksi. Teos on valmis kun signeeraan sen.
I have found the themes of my works in nature over the years. I enjoy moving in varied landscapes and forests, making observations that my conscious self and unconscious mind shape into images that I draw in a representational manner. I have filled these sketchbooks abundantly over time; it is important for my work that I see them, as they develop my own vision and personality. My works are born in my studio, where I freely dive into a new piece, which comes from my unconscious mind to my conscious self. The subject that is coming is familiar to me from nature; the shapes and colours will be constructed step by step in my own style. The work is finished when I sign it.
Minun tulkintani luonnosta / My Interpretation of Nature
Maalaan kuvia siitä, mitä olen nähnyt, kokenut, pelkkä ajatus tai uni; pieniä kertomuksia omasta maailmastani. Muotokuvia ihmisestä, talosta tai kukasta, jokaiseen yritän luoda sielun. Rakastan kaunista viivaa ja värien keskenäistä kisailua kankaalla. Maalaamista voi verrata kirjoittamiseen tai säveltämiseen, se on kuvataiteilijan kertomaa tarinaa omalla ilmaisullaan, omalla kielellään.
A Finnish painter, who paints what she has seen insidoors or outdoors. Trees, flowers, people, houses and mountains. She tries to make them important and give joy to other people.
Leikitellen / Playing Around 101 x 101 cm
canvas 2024
öljyväri kankaalle / oil colour on
Sirpa Heikkinen
Hakakatu 14 A 9, 90140 Oulu, Finland +358445170548
LinkedIn Sirpa Heikkinen independent artist https://www.avarana360.fi/post/n1/collection/7cBbD https://omapienipixeli.wixsite.com/mysite/sirpa https://sirpaheikkinen.myportfolio.com
Olen Oulussa asuva ja työskentelevä taiteilija. Ilmaisualani ulottuu valokuvauksesta performanssitaiteeseen. Olen työskennellyt nyt itsenäisenä taiteilijana puolentoista vuosikymmentä. Kuvataiteilijaksi valmistuin Turusta monikymmenvuotisen toimittajuus-kriitikkouteni jälkeen. Erityisen rakkaaksi minulle on muodostunut suurten niin kutsuttujen valokuva-akvarellien luominen. Menetelmän omaksuin takavuosina Limingan taidekouluaikanani. Toteuttamieni parimetristen valokuva-akvarellien työstäminen olisikin mahdotonta, jollei käytössäni olisi suurta prässiä. Sellainen, käsikäyttöinen löytyy juuri Limingasta. Vuosien varrella minulle on tarjoutunut silloin tällöin mahdollisuus vuokrata taidekoulun tilaa, ja näin on syntynyt myös Katso ihmistä. Olen Oulun Taiteilijaseura -63 ry:n jäsen, tänäkin vuonna hallitustyössä ja seuran performanssityöryhmän jäsen. Valtakunnallisessa MUU ry:ssä olen hallitustyössä sekä myös MUU:n jäsenvalintalautakunnassa. Kuulun jäsenenä myös alueelliseen Photo Northiin - Pohjoiseen Valokuvakeskukseen.
I am a visual artist living and working in Oulu. My field of expression ranges from photography to performance art. I have worked now as an independent artist for a decade and a half, after graduating in Turku. Before this, I spent my first professional career of many decades as a journalist and critic. I have become particularly fond of creating large, so-called photographic aquarelle. I adopted the method in recent years during my time at the The Liminka School of Arts. Working with the twometer photographic aquarelle I have created would be impossible, if I didn't have a large press at my disposal. One of these, a hand-operated one, can be found in Liminka. Over the years, I have occasionally had the opportunity to rent the space of an art school, and that is how Katso ihmistä (Ecce Homo / Behold the Human Being) was born. I am a member of the Oulu Artists Association, and also on the board and a member of the association's performance working group. I am on the board of the national Artists' Association MUU and also on the MUU membership selection committee. I am also a member of the Northern Photographic Centre.
Katso ihmistä (Ecce Homo / Behold the Human Being) 97,5 x 200 cm (paper), image area aprox. 88 x 167 cm
Olen syntynyt 1957 ja koulutukseltani olen fyysikko. Olen kuvannut 16-vuotiaasta asti. Aikaisemmin kuviani on ollut esillä Ava-gallerian järjestämissä yhteisnäyttelyissä New Yorkissa, Tokiossa ja Helsingissä. Yksityisnäyttelyitä minulla on ollut yksitoista. Vedostan kuvani itse. Paperina käytän kuumapuristettua, puuvillapohjaista taidepaperia. Minulla on ollut aina intohimoinen suhde harmaasävykuviin. Viimeaikoina kuviini ovat ilmestyneet myös värit. Tässä näyttelyssä esillä olevat kolme teosta sammakoista olen kuvannut väreissä. Sammakot saapuvat joka kevät kutemaan lammikkoon, jossa ne ovat syntyneet ja varttuneet. Niiden aktiivinen kutuaika kestää muutamasta päivästä muutamaan viikon ja silloin meno on aika vilkasta. Teokset kuvaavat tätä tapahtumaa kutulammikossa.
Jos olet kiinnostunut valokuvistani, ota yhteyttä: tapio.hyvonen@elisanet.fi Kuviani löytyy myös Instagrammista: @tapio.hyvonen
I was born in 1957 and am a physicist by education. I have been taking photographs since I was 16. My work has reviously been shown in group exhibitions organized by Ava Gallery in New York, Tokyo, and Helsinki. I have held eleven solo exhibitions. I print my photographs myself, using hot-pressed, cottonbased fine art paper. I have always had a passionate relationship with grayscale photos. Recently, color has also appeared in my photos. I have photographed the three works of frogs in this exhibition in colors. Each spring, frogs return to the pond where they were born and raised to spawn. Their active spawning season lasts from a few days to a few weeks, and during that time, the pond is full of life. These works capture that event in the spawning pond.
If you are interested in my photography, please contact: tapio.hyvonen@elisanet.fi You can also find my photos on Instagram: @tapio.hyvonen
Veistosteni aiheina ovat usein ihminen, eläin tai molemmat myyttisesti yhtyneinä. Haluan kuvata voimakkaita tunnetiloja. Liike, tanssi ja kehonkieli ovat ihmisten ja eläinten yhteistä ilmaisua. Taiteilijat ovat aina - kalliotaiteesta alkaen- käyttäneet tätä samaa kieltä ihmismielen tulkitsemiseen. ... kun valaa itse pienet ja suuret pronssityöt, saa paremmat mahdollisuudet ja rohkeuden toteuttaa mielikuvansa...
The subjects of my sculptures are often humans, animals or both in mythical unity. I want to depict strong emotional states. Movement, dance and body language are a common expression of humans and animals. Artists have always - starting from rock art - used this same language to interpret the human mind. when you cast small and large bronze works yourself, you get better opportunities and the courage to realize your imagination…
Kullervo korkeus 72 cm pronssi
Ursula Kianto
www.kuvataiteilijamatrikkeli.fi
Sukeltajat
Maalauksen valkoisella pohjalla on ohut punainen akryylimaalikerros. Sen kuivuttua jatkoin öljyväreillä, sinisellä, vihreällä, tummilla väreillä ja sävyillä useita viikkoja, koska värikerrosten piti kuivua välillä. Lopulta maalaus muistutti kuohuvaa, väreilevää vettä. Silloin ilmaantui ajatus sukeltajista korkealla taivaalla, sukeltajapariskunnasta, sulavista olennoista, joiden hahmoissa sinistä, turkoosia, vaaleanpunaista, venetsianpunaista, smaragdinvihreää ja tummia värejä ja sävyjä. He ovat vain osin näkyvissä maalauksessa. Korkealta taivaalta, veden yltä sukeltamassa alas oikealle, tulevaisuuteen.
Divers
The base of the white canvas was painted first with a thin layer of red acryl paint. When it was dry, I continued with oil colours, green, blue, and dark shades. It took many weeks, because of the drying of layers. At last my painting looked like rippling, and surging water. Then I got an impression of divers, a couple in blue, turquoise, pink, veneziared, green of emerald and dark colours and shades. They are graceful creatures, only in part on the canvas. They are high up in the sky diving down to the right corner, for the future.
työhuonekuva: Varpu Jaskari
työhuoneeni / my studio
Sukeltajat / Divers
92 x 64 cm
öljyväri kankaalle / oil color on canvas 2023 - 2024
Parallellt med mitt arbete som inredningsarkitekt har jag alltid arbetat med min konst, dels på egen hand, dels under ledning av framstående nordiska konstnärer. Som pensionär har konsten blivit min huvudsakliga sysselsättning. Allt började med akvarell, en krävande men fascinerande teknik. Numera arbetar jag med flera tekniker och kombinerar ofta flera i samma konstverk, t.ex. akvarell, teckning, fotografi och målning med digital penna/pensel, ett slags collage av fragment sammanställda och vidarebearbetade i datorn. AI är däremot inget jag fastnat för. I mina konstverk vill jag gärna lämna något budskap. Naturen och dess alla olika former, skalor och färger inspirerar och intresserar mig. Havet, stränder, berg och slättlandskap, allt har jag på nära håll. Men även samhällsfrågor och vetenskap kan inspirera mig. Det var därför mycket roligt att under tre år få prya nobelpristagares diplom med mina konstverk.
In parallel with my work as an interior designer, I have always worked with my art, partly on my own and partly under the guidance of prominent Nordic artists. As a pensioner, art has become my main occupation. It all started with watercolor, a demanding but fascinating technique. Nowadays, I work with several techniques and often combine several in the same artwork, e.g. watercolor, drawing, photography and painting with digital pen/brush, a kind of collage of fragments compiled and further processed in the computer. AI, on the other hand, is not something I am obsessed with. I would like to leave a message in my artwork. Nature and all its different shapes, scales and colors inspire and interest me. The sea, beaches, mountains and plains, I have everything close at hand. But social issues and science can also inspire me. It was therefore very fun to decorate Nobel Prize winners' diplomas with my artwork for three years.
Havet, livets början. Livets slut?
The sea, beginning of life. End of life?
Size: 45 x 65 cm
Material: 310g archival matte paper
Made: 2025
Upplaga: Original, inga fler utskrifter Edition: Original, no further prints
Bilden är i huvudsak skapad som akvarell men inskannad i datorn med mycket hög upplösning och kompletterad med hjälp av digital penna och ritplatta. Vissa lager har gjorts transparenta för att uppnå de effekter jag eftersträvat. Förklaring av bilden: Klimatförändringar skrämmer. Översvämningar vållar katastrofer. Detta har jag velat illustrera i denna bild. En jättelik flodvåg som sköljer över staden.
The image is mainly created as a watercolor but scanned into the computer with very high resolution and supplemented with the help of a digital pen and drawing tablet. Some layers have been made transparent to achieve the effects I sought. Climate change is frightening. Floods cause disasters. This is what I wanted to illustrate in this image. A giant tidal wave that washes over the city.
Monika Kiviniemi
www.kiviniemi.se
Asun ja työskentelen Ruotsissa. Olen nykytaidemaalari ja työskentelen enimmäkseen suurikokoisten, abstraktien maalausten parissa. Luovuudessani yksi päätavotteistani on tuottaa yksinkertaistettuja ja pelkistettyjä maalauksia, joissa väri ja pinta ovat keskipisteenä.
I live and work in Sweden. I am a contemporary painter and I work mostly with large-scale, abstract paintings. In my process, one of my goals is to produce simplified and stripped-down paintings, where color and surface are the focus.
Artiste Plasticienne / Visual artist Instagram: @h_haering www.h-haering.com
Dessin, peinture, photographie, céramique, sculpture, textile... autant de médiums qui se combinent en une démarche artistique unique pour Viviane Haering. Toujours à la recherche de mariages de matières éclectiques, sur des supports variés, en volume ou à plat, elle aime travailler le dialogue entre les formes et les couleurs. C’est ainsi qu’elle va raconter des histoires personnelles ou porter des messages à caractère plus universel. À travers «Lost paradise» où les beautés du monde, ici dans une jungle imaginaire et merveilleuse, l’artiste nous fait part de son inquiétude quant à la sauvegarde de la nature. Chaque année, près de 10 millions d’hectares de forêts disparaissent. Essentielles au cycle de l’eau, à la régulation du climat et à la préservation de la biodiversité, les forêts sont pourtant vitales pour la planète. Elles sont aussi étroitement liées à l’activité humaine. Il y a urgence à préserver ces écosystèmes fragiles et irremplaçables.
Drawing, painting, photography, ceramics, sculpture, textiles... these are just some of the mediums that combine to create a unique artistic approach for Viviane Haering. Always on the lookout for eclectic combinations of materials, on a variety of supports, in volume or flat, she likes to work on the dialogue between shapes and colors. This is how she tells personal stories or conveys more universal messages. In “Lost paradise”, where the beauties of the world, here in an imaginary and marvellous jungle, the artist shares her concern for the preservation of nature. Every year, some 10 million hectares of forest disappear. Essential to the water cycle, climate regulation and the preservation of biodiversity, forests are vital to the planet. They are also closely linked to human activity. There is an urgent need to preserve these fragile and irreplaceable ecosystems.
Lost Paradise: Jungle 89 x 149 cm collage de cuir (recyclé) sur toile, acrylique, crayon noir / leather collage (recycled) on canvas, acrylic, black pencil 2025
Christopher König
www.christopher-koenig.com
My name is Christopher König. The title of the work is "It's my Life" and is intended to reflect my individual approach to art. All of my paintings are inspired by the music I listen to in everyday life. From listening to music, I create my bizarre portrait studies, which are created from an individual approach or as a reflection of the self and society. The methodology is that I combine abstraction with brush or spray to create the portrait studies from abstraction. This is the basis of my bizarre studies. Music is the catalyst for my art, and I select certain songs where I reflect the mood as an image. This is how my abstract and bizarre portrait studies come about. I love music; I play the electric guitar and piano myself, and this love is reflected in my art.
It's My Life 70 x 50 cm abstraction combination with figurative elements Bizarre Studien
Re-signifying the Textile Waste of the Atacama Desert
In the Atacama Desert, where thousands of tons of discarded clothing accumulate, this installation transforms textile waste into art and awareness. Visual artists Angelito Peñaranda and Mana Castillo create, from abandoned garments, a landscape that denounces the impact of fast fashion and proposes a collective reflection on our patterns of consumption and disposal. The project is enriched by the perspective of acclaimed photographer Pablo Valenzuela, whose images of the untouched desert contrast starkly with the harshness of the textile dump. This visual dialogue highlights the tension between natural beauty and environmental degradation, reinforcing the urgent call for cultural change. This artistic intervention bridges art, culture, and education, inviting us to reimagine waste as creative material and art as a tool for social transformation.
Pablo Valenzuela NORTE – THE GEOMETRY OF THE INSTANT
The Chilean territory has been a source of inspiration for my photographic work for many years. I don’t seek grand vistas or sweeping landscapes. On the contrary, I aim to move away from the obvious and toward the abstract. I abandon breadth in order to focus on the minimal. My intention is to build a new image using the elements that the landscape and the moment provide. An image that moves away from pure documentation. A real image, of course, but not a literal one. A gaze that requires no interventions or effects during or after the shot. Following this same minimalist aesthetic, I developed the series NORTE, which reveals the diversity and pristine beauty of the desert and high plateau of northern Chile. It is an eloquent depiction of the vastness and subtle detail of an austere landscape that never ceases to surprise.
Mana Castillo
Mana Castillo is a Chilean visual artist whose practice unfolds at the intersection of stoneware ceramics and textile art, generating a material and visual language deeply rooted in the landscapes of northern Chile and the ancestral craft traditions of Latin America. Her work explores the connection between material, gesture, and territory, giving rise to unique pieces that interweave history, identity, and contemporary sensitivity. Each of her creations begins with ceramic in its most essential form: flat stoneware slabs hand-shaped and pigmented with slips and natural oxides she crafts herself, like a true alchemist of color and texture. These surfaces are transformed as they integrate rustic linen and raw cotton threads through embroidery, knots, and bindings that act not only as structural elements but also as an expansion of the piece’s formal and poetic language. Through this fusion, new textures and chromatic contrasts emerge, evoking the desert’s geography salt, stone, and sand. Inspired by the reddish tones of the Altiplano, the infinite whites of the salt flats, and the mineral diversity of northern Chile, Mana Castillo’s work invites us to navigate an intimate map of her homeland, where aridity becomes a restrained form of beauty. Her creative process is deeply influenced by ongoing research into pre-Columbian textile techniques, learned through studies and travel to key cultural sites such as the Chilean Museum of Pre-Columbian Art, the San Miguel de Azapa Museum, and Peru’s Sacred Valley of the Incas, where she studied backstrap loom weaving from Andean communities. With a background of over 25 years in other fields before fully dedicating herself to art, Mana Castillo brings a keen sensitivity for detail and a relentless curiosity for handmade craft. Her practice is also a testimony of transition: from the rigor of numbers to the intuitive gesture, from the everyday to the symbolic, from craft to contemplation. Mana Castillo’s work represents not only a technical blend of ceramics and textiles, but also a profound reflection on time, memory, and the ancestral connections that bind us. Each piece becomes a bridge between past and present, between the tangible and the symbolic, offering an aesthetic rooted in the earth and dialoguing with the spirit.
Angelito Peñaranda
My work embraces the concept of sustainability, focusing on reuse and recycling as a statement of love and respect for the environment, while also promoting the value of art and the creation of emotional connections. I have been creating colorful and dynamic pieces that invite interaction and reflection through the use of recycled materials, textile art, and painting. My art tells stories of resilience, change, and transformation, aiming to inspire viewers and evoke emotions. With a creative career spanning over 20 years, I have participated in exhibitions in Chile, Argentina, Mexico, Paris, and the United States, highlighting cultural exchange and artistic diversity. I am passionate about the connection between art, community, and the environment.
Adriano Disc
Facebook:Adriano Batista
Instragam:Combucaneirodi
Ubatuba Brasil
Adriano Disc Artista visual Brasileiro que em 2024 cria através da reutilização de CDs Obras de Arte sua busca por inovação na arte contemporânea através da criatividade 2025 já é convidado a participar 49 coletiva euarte contemporânea: declaração imbrate participação: e presenteado pela revista Neotrusd conti: participa da exposição coletiva no museu de taubate xx1 mostra de arte do vale do Paraíba região serrana litoral norte:exposição 150 anos jockey club São Paulo: convite para participar da bela bienal Europa América Latina de arte contemporânea.
Adriano Disc, visual artist, Brazilian, which in 2024 creates though the reuse of CDs Work of art. His search of renewalit contemporary art, though creativity in 2025, was invites tô participate in the: 49 Th contemporary collective enarte (imbrarte declaration participation): presented by Neotrusd conti magazine; exhibition ar the taubate museum(xx1 art exhibition of the Paraíba valeu,mountain region abs north coast):.150 years of the São Paulo jockey club exhibition:invitation tô participate in the bela biennial europe latim América (Helsinque-Finland).
My Sun 45 x 60 cm mixed technique froan bord and CDs collage 2025
Ângela Vielitz
A série “Esmeraldas Líquidas”, traz paisagens ressignificadas por mim com materiais outros, que tem como objeto primeiro a fotografia autoral de um tema que nasceu de muitos instantes com a essência da natureza na sua forma mais genuína e marcante para os seres vivos, a água. Como na memória original do ventre materno, penso no elemento agua como aquilo que protege, habita, sacia e abraça. Assim como poesia tento trazer para o meu trabalho “o pulsar do sentido da vida”.
Beatriz de Carvalho
Visual Artist | Jewelry Designer | Textile Designer | Born in Porto Alegre, RS, 1944
Art, Success, and the Power of Sustainability
Beatriz de Carvalho was born in Porto Alegre and showed artistic talent from an early age. Her international journey began in Switzerland, where she studied and experimented with drawing and enameling techniques. She excelled in the textile industry and, in 1988, moved to Italy, where her artistic career flourished in major global events. Back in Brazil, settled in São Paulo, Beatriz built a career spanning fashion, painting, sculpture, and jewelry design, always focused on sustainability. She has exhibited in iconic shows such as Maison et Objet in Paris, Grand Marché D’Art in Berlin, and five times at the Musée Toit de La Grande Arche, earning multiple international awards. Deeply committed to environmental causes, she held the exhibition “Sustainability in Search of a New World” at MUBE and participated in projects like Cow Parade, Elephant Parade, and global exhibitions. Her art inspires by turning waste into poetry and reinforces the mission to unite creativity, innovation, and ecological awareness in the contemporary world.
Beatriz de Carvalho: Arte, Sucesso e a Força da Sustentabilidade
Vera Beatriz de Carvalho Cirrincione nasceu em Porto Alegre, em 1944, e desde criança demonstrava inquietude artística criando brinquedos e experimentando materiais inusitados. Em 1954, com a família transferida para a Suíça, Beatriz mergulhou nos estudos de arte em Berna, Friburgo e Basileia, onde se encantou pelas técnicas de desenho, batik e esmaltação em metal. Seu olhar inovador a levou, ainda adolescente, a transformar sucata em esculturas e móbiles, inaugurando um compromisso vitalício com a sustentabilidade. De volta ao Brasil, destacou-se na indústria têxtil e nas artes plásticas, e, após anos de formação e exposições na Europa, consolidou-se como uma referência internacional. Beatriz alcançou fama expondo nos principais salões e museus do mundo: Maison et Objet (Paris), Grand Marché D’Art (Berlim), Museu Toit de La Grande Arché, Salon D’Automne (Paris), além de participar da emblemática série “Trilogia do Xingú”, apresentada na Itália. Sua carreira brilhante foi reconhecida com prêmios importantes, como primeiro lugar em escultura e inovação na Itália, França e Brasil, além de receber a Grande Medalha de Ouro pelo Centro Cultural da Marinha, em São Paulo. A sua missão artística vai além da produção: Beatriz se engajou em movimentos sociais, doações beneficentes e projetos educativos, sempre usando a arte como ponte para conscientizar sobre a importância da sustentabilidade. Obras marcantes, como a exposição “Sustentabilidade em Busca de um Novo Mundo” (MUBE, 2014) e as participações em eventos como Cow Parade, Elephant Parade e exposições em Portugal, Islândia, Nova York e Dubai, eternizaram seu compromisso de transformar resíduo em poesia visual. Hoje, morando em São Paulo, Beatriz continua inovando: além das artes plásticas, estreia em breve um musical autoral e lança novos livros, sempre guiada pela paixão de reinventar o mundo com beleza, consciência ecológica e criatividade. Sua trajetória é símbolo de como o talento, quando aliado à responsabilidade ambiental, pode abrir caminhos de sucesso, inspirando novas gerações a enxergar a sustentabilidade como missão e transformação.
Energy
em bronze com oxidação / bronze sculpture with oxidation dupla face (positivo e negativo) / double-sided (positive and negative)
Beth Melro
As obras da artista alagoana Beth Melro têm personalidade forte e traços bem marcantes. Desde a infância a artista já era envolvida na arte. Foi com sua avó, que também pintava, e com o incentivo de sua mãe, que os pincéis começaram a ter movimento em suas mãos, e a partir de então tudo foi tomando forma. Na fase adulta, a arquitetura lhe chamou a atenção, mas a formação também contribuiu para que ela descobrisse o caminho que queria trilhar. A primeira exposição foi em 2008,E não parou mais. Atualmente tem suas obras espalhadas por Alagoas e no Brasil, Viagens, culturas, lugares, natureza,Tudo pode ganhar um novo sentido nas mãos da artista, que se inspira em todas as suas experiências para criar. “Não tenho regras, vou criando e desenhando do meu jeito, sempre deixando a arte fluir passeando pelo estilo gótico, Art Nouveau, japonismo, barroco e elementos orientais entre outros”
The works of Alagoas artist Beth Melro have a strong personality and very striking features. Since childhood, the artist was involved in art. It was with his grandmother, who also painted, and with his mother's encouragement, that the brushes began to move in his hands, and from then on everything began to take shape. As an adult, architecture caught her attention, but her training also helped her discover the path she wanted to follow. The first exhibition was in 2008, and it hasn't stopped since. He currently has his works spread across Alagoas and Brazil. Travel, cultures, places, nature, everything can gain a new meaning in the hands of the artist, who is inspired by all her experiences to create. “I have no rules, I create and draw my way, always letting the art flow, exploring the Gothic style, Art Nouveau, Japanese style, Baroque and oriental elements, among others”
Flores Nouveau / Nouveau Flowers técnica mista sobre canvas / mixed media on canvas 2025
Bruno Guerchon brunoguerchon.com instagram @brunoguerchon.art
Desenhista nato, autodidata, graduado em ciência da computação. Desde 2016, atua profissionalmente como artista visual, tendo se especializado em fotografia cênica. Como fotógrafo, além de contribuir com terceiros, também produz imagens em projetos próprios, principalmente nos gêneros fauna, flora, humano, paisagem e abstrato. Para ele, o gênero humano em particular é o mais reflexivo e potencialmente o mais transformador; porque retrata a vida humana como assunto principal na imagem, com suas circunstâncias, emoções aflitivas, vulnerabilidade e sofrimento; explícitos e implícitos. É, assim, o vínculo que mais nos aproxima da obra, desafia nossas crenças, valores e paradigmas, e abre um portal para contemplação e autorreflexão.
Natural-born drawing artist, self-taught, graduated in computer science. Since 2016, has been working professionally as a visual artist, specializing in scenic photography. As a photographer, in addition to contributing to third-party projects, also creates images for personal projects, mainly in the genres of fauna, flora, human, landscape, and abstract. To him, the human genre in particular is the most reflective and potentially the most transformative; because it portrays human life as the main subject in the image, with its circumstances, afflictive emotions, vulnerability, and suffering both explicit and implicit. It is, therefore, the bond that brings us closest to the work, challenges our beliefs, values, and paradigms, and opens a portal to contemplation and self-reflection.
Meu Mundo Concreto / My Concrete World 53 × 39 cm fotografia digital impressa e emoldurada 2022
Cláudia Sperb
I've done a lot of courses and postgraduate studies in art. I graduated in visual arts in 1991 (FEEVALE / Novo Hamburgo/RSBrazil). During my major I learned the woodcut technique and since then I've been expressing myself through it.
My first works consisted of geometric abstracts. After I came back from India, I started with serpents. Today I have a mosaic park open to the public containing various works by other artists and other techniques which is called Caminho das Serpentes Encantadas (“The Path of the Enchanted Serpents” - @caminhodasserpentesoficial). It is located at the beginning of the Atlantic Forest in the Serra Gaúcha (south of Brazil), and it was created with the intention of raising awareness through art and nature.
Following this, I began to create the serpent garden. I consider my works as being original and creative, because they come from my imagination, once I learned from my grandmother, who was a florist and a poet, that it was the serpents that belched flowers. Currently, I make flowers of large dimensions (e.g. 200 x 80 cm / matrix).
Fiz muitos cursos e pós graduação em arte. Sou formada em licenciatura em artes visuais desde 1991 (FEEVALE / Novo Hamburgo/RS). No curso aprendi a técnica de xilogravura e desde lá, sigo me expressando atravéz dela.
Meus primeiros trabalhos eram geométricos abstratos. Depois que voltei da Índia comecei com as serpentes. Hoje tenho um parque de mosaicos aberto ao público com diversos trabalhos de outros artistas e outras técnicas: o Caminho das Serpentes Encantadas (@caminhodasserpentesoficia)l. Que está localizado no começo da mata atlântica na serra gaúcha, com a intenção de sensibilizar através da arte e a natureza.
Na sequência comecei a fazer o jardim das serpentes. Considero minhas Xilogravuras originais e criativas, porque partem do meu imaginária, já que aprendi com a minha avó florista e poetiza que eram as serpentes que arrotavam as flores. Hoje eu faço as flores de grandes dimensões (exemplo 200 x 80 cm / matriz).
xilogravura woodcut / woodcut
60 x 40 cm matriz / matrix
Claudio Lobato
VISUAL POETRY
THE WORD enters the space of the canvas and its shape, texture and color begin to invoke other sensations, as it happens in the relationship between poetry and music, where the lyrics inserted in the song are modulated to the rhythm and melody. Forms that explore a poetic universe that goes beyond what is written.
Nume is the Latin word that refers to divine power, the generalization of the deities. Probably the origin of the words name and number (to Portuguese nome and número). Numbers and words are like tools that enable countless combinations, creating ways of understanding the world.
POESIA VISUAL
A PALAVRA entra no espaço da tela e sua forma, textura e cor passam a invocar outras sensações, assim como acontece na relação entre a poesia e a música, onde a letra inserida na canção, modula-se ao ritmo e à melodia. Formas que exploram um universo poético que vai além do que está escrito.
Nume é a palavra em latim que se refere ao poder divino, a generalização das divindades. Provavelmente a origem das palavras nome e número. Os números e as palavras são como ferramentas que possibilitam inúmeras combinações, criando formas de entender o mundo.
Climax 140 x 90 cm acrylic and spray on canvas
Henrique Aquino (Doc)
Instagram: @doctordoc_henrique
Portfolio: dochenriqueaquino.myportfolio.com
O gesto (2020)
Testo de Oscar D’Ambrosio
Quando se mergulha no universo das abstrações e dos traços regidos pela liberdade, o potencial de desenvolvimentoda capacidade de ampliar as próprias percepções ganha força.O trabalho de Henrique Aquino (Doc) nos leva para essas veredas. São olhos que nos espreitam ou círculos aleatórios que nos desafiam nas suas criações? Talvez nem uma coisa nem outra – e nem mesmo uma terceira.Existe na obra a questão da gestualidade, que constitui uma assinatura de um artista visual. Se, na vida social, é a impressão digital que nos diferencia uns dos outros; na arte, especificamente na pintura, a amplitude e a intensidade da maneira de ocupar o suporte, seja tela ou papel, pode ser visto como peculiar e único de cada criador. Reparar com atenção em cada um desses movimentos constitui uma pista para penetrar na alma que cada criador visual deixa no seu processo de criação.
Text by Oscar D’Ambrosio
When we dive into the universe of abstractions and strokes guided by freedom, the potential to develop our ability to broaden perception gains strength. The work of Henrique Aquino (Doc) leads us down these paths. Are they eyes that watch us or random circles that challenge us in his creations? Perhaps neither nor even a third possibility. In his work, there is the question of gesture, which forms the signature of a visual artist. If, in social life, it is the fingerprint that distinguishes us from one another, in art specifically in painting the breadth and intensity of the way the surface is occupied, whether canvas or paper, can be seen as unique and peculiar to each creator. Paying close attention to each of these movements offers clues to enter the soul that each visual creator leaves in their creative process.
The Gesture (2020)
As cores vibrantes e diversas remetem a pedaços de frutas variadas, cada forma se encaixando como se fossem sabores diferentes em um prato. A sobreposição e o movimento dos traços criam uma sensação de mistura, frescor e alegria. O fundo claro ajuda a realçar os blocos de cores.
The vibrant, diverse colors resemble pieces of different fruits, each shape fitting together like different flavors on a plate. The overlapping and movement of the lines create a sense of mixture, freshness, and joy. The light background helps highlight the blocks of color.
Salada de Frutas
Salad Fruit
Helena Manzan
Artista visiva / interdisciplinare Visual artist / interdisciplinary manzan.helena@gmail.com
www.helenamanzan.com
Instagram: @helenamanzanart
Helena Manzan (Brasile, 1960) è un’artista visiva, figlia di padre italiano e madre brasiliana. Dal 2002 vive tra l’Italia e il Brasile. La sua ricerca attraversa pittura, video, fotografia, installazione e scultura, esplorando la smaterializzazione dell’immagine, la leggerezza della materia e la trasparenza come linguaggio estetico e concettuale. Indaga i limiti del visibile e propone paesaggi informali e sensibili che si rivelano tra luce e ombra. Laureata in Arti Visive presso Universiade Federal de Uberlândia (UFU), ha fatto parte del gruppo di ricerca in pittura (UFU) e ha realizzato ricerca scientifica sulla pittura rupestre con il sostegno del CNPQ (Brasile). Svolto ricerche in diverse spedizioni scientifiche nella Foresta Amazzonica. Ha partecipato alla 54a Biennale di Venezia (2011), presso il Padiglione Italia / Regione Molise, ed ha esposto in numerose mostre in Brasile, New York, Osaka, Londra, Lisbona, Siviglia e Novosibirsk
Opera: Installazione Titolo: “Il Respiro” "Il Respiro" è un’opera che evoca il ritmo invisibile ma vitale dell’atmosfera terrestre. Il titolo allude al respiro del mondo, fenomeno climatico ancestrale che regola i cicli della vita, della coltivazione e della sopravvivenza in numerose regioni del pianeta. L’opera propone un’immersione sensoriale nella fragilità e nella forza dell’ambiente naturale, sottolineando l’urgenza di riconnettersi con la purezza dell’aria e la non contaminazione del pianeta. Un velo di seta con grandi fiori in voile, sospeso a sottili fili di cotone, rappresenta la delicatezza e la vulnerabilità di questo respiro. In quest’opera, rappresento l’Italia attraverso la bellezza dei suoi paesaggi e il meraviglioso clima del Mediterraneo: Un elogio alla natura che ci circonda, promuovendo un dialogo tra arte e clima, tra corpo e paesaggio, tra respiro individuale e respiro collettivo dell’umanità.
Helena Manzan (Brazil, 1960) is a visual artist, the daughter of an Italian father and a Brazilian mother. Since 2002 she has lived between Italy and Brazil. Her research spans painting, video, photography, installation and sculpture, exploring the dematerialisation of the image, the lightness of matter and transparency as an aesthetic and conceptual language. She investigates the limits of the visible and proposes informal and sensitive landscapes that reveal themselves between light and shadow. Graduated in Visual Arts from Universiade Federal de Uberlândia, was part of the research group in painting (UFU) and carried out scientific research on cave painting with the support of the CNPQ (Brazil). Carried out research in several scientific expeditions in the Amazon Rainforest. Took part in the 54th Biennale of Venice (2011), at the Italian Pavilion / Molise Region, and has exhibited in numerous exhibitions in Brazil, New York, Osaka, London, Lisbon, Seville and Novosibirsk.
Opera: Instalation Title: 'The Breath' 'The Breath' is a work that evokes the invisible but vital rhythm of the earth's atmosphere. The title alludes to the breath of the world, an ancestral climatic phenomenon that regulates the cycles of life, cultivation and survival in many regions of the planet. The work offers a sensory immersion into the fragility and strength of the natural environment, emphasising the urgency of reconnecting with the purity of the air and the non-contamination of the planet. A silk veil with a large voile flower, suspended from thin cotton threads, represents the delicacy and vulnerability of this breath. In this work, I represent Italy through the beauty of its landscapes and the wonderful climate of the Mediterranean: a eulogy to the nature that surrounds us, promoting a dialogue between art and climate, between body and landscape, between individual breath and the collective breath of humanity.
Titolo: Il Respiro
Misura: 300 x 230 cm
Materiali: Voile e seta italiana, pigmenti naturali, grande fiore nello stesso materiale sospeso con filo di cotone sottile
Luogo: Biennale Latino-Americana / cultural center Cable Factory, Helsinki
Stile: Astratto, concettuale, etereo – con forme leggere e sospese
Obiettivo: Evocare leggerezza, silenzio sospeso e una sensazione di bellezza genuina.
Descrizione: Installazione sospesa con fili di nylon. Strati di voile trasparente compongono l’opera, con un grande fiore appeso – simbolo della fragilità della natura e della necessità di proteggerla.
Ivaan Hansen: quando o humano é território em disputa Instagram: @ivaanhansen
Na pintura de Ivaan Hansen, o corpo não é só forma é campo de batalha, arquivo de tensões e palco de contradições que atravessam nosso tempo. Suas figuras, quase sempre solitárias, envoltas em máscaras ou estruturas, parecem suspensas entre o passado que as feriu e o futuro que não chegou. São presenças que pensam e sentem, mas, sobretudo, revelam.
Há uma inquietação lúcida em cada imagem. Longe de oferecer consolo, sua obra se propõe a desestabilizar: questiona a euforia superficial que toma conta da vida contemporânea e expõe o peso invisível das emoções e das expectativas. São pinturas que não decoram confrontam. Que não suavizam despertam.
Entre a força do gesto pictórico e a densidade simbólica, Ivaan constrói uma poética marcada pela coragem de olhar para o incômodo. Em cada figura, há uma espécie de resistência silenciosa, uma afirmação da própria existência que se ergue mesmo quando tudo parece ruir. Como se cada corpo sussurrasse: ainda estou aqui. Apesar da queda. Apesar do colapso.
Artista brasileiro com mais de vinte anos de trajetória, Ivaan Hansen desenvolve sua pesquisa a partir da pintura acrílica sobre tela, criando composições que combinam rigor técnico, textura intensa e narrativa visual. Seu trabalho já integrou exposições individuais e coletivas no Brasil e no exterior, consolidando uma produção que dialoga com questões universais — identidade, memória, pertencimento — e que convida o público a refletir sobre o humano em sua forma mais crua e essencial.
Ivaan Hansen: when the human body becomes contested territory
In Ivaan Hansen’s painting, the body is not merely form it is a battleground, an archive of tensions, and a stage for the contradictions that define our time. His figures, almost always solitary, enclosed in masks or bound by structures, appear suspended between a past that wounded them and a future that never arrived. They are presences that think, that feel, and above all, that reveal.
There is a lucid unease in each image. Far from offering consolation, his work seeks to unsettle: it challenges the superficial euphoria that saturates contemporary life and exposes the invisible weight of emotion and expectation. These are paintings that do not decorate they confront. They do not soften they awaken.
Between the force of the pictorial gesture and the density of symbolism, Ivaan builds a poetics marked by the courage to look directly at what is uncomfortable. In each figure, there is a kind of silent resistance, an affirmation of existence that rises up even as everything seems to collapse. As if each body whispered: I am still here. Despite the fall. Despite the edge of collapse.
A Brazilian artist with more than twenty years of experience, Ivaan Hansen develops his practice through acrylic painting on canvas, creating compositions that blend technical precision, layered textures, and visual narrative. His work has been featured in solo and group exhibitions in Brazil and abroad, consolidating a body of work that engages with universal themes identity, memory, belonging and invites viewers to reflect on the human condition in its rawest, most essential form.
Jorge Rosa
A inspiração para esta obra sempre me vinha à mente ao ler o livro de Gênesis, na Bíblia Sagrada. Procurei representar, a partir da minha imaginação, a exuberância da criação original de Deus marcada pela diversidade de cores, formas e espécies, com predominância do verde. Um olhar mais atento permite identificar, além da presença dominante do mundo vegetal, sutis referências a animais terrestres e aquáticos, compondo um cenário vivo e simbólico da criação.
The inspiration for this artwork always came to me while reading the book of Genesis in the Holy Bible. I sought to represent, through my imagination, the exuberance of God’s original creation—marked by a diversity of colors, shapes, and species, with a predominance of green. A closer look reveals, beyond the dominant presence of the plant world, subtle references to terrestrial and aquatic animals, composing a vibrant and symbolic scene of creation.
Gênesis / Genesis
89 x 60 cm
retalhos de couro diversos, costurados com miçangas variadas various leather scraps, embroidered with assorted beads
2021
Luciane Villanova
luianevillanova@gmail.com
Instagram: lucianevillanova
Luciane Villanova nasceu no Brasil em 1966. Vive e trabalha no Rio de Janeiro. É formada em Arquitetura pela Universidade Federal do Rio de Janeiro (UFRJ). Iniciou sua formação em Artes Visuais em 2019,frequentando cursos da EAVEscola de Artes Visuais do Parque Lage e da Eixo Arte. Estudou fotografia com os fotógrafos Edu Monteiro e Greice Rosa. A artista tem como ponto de partida o desejo de investigar os restos, a impermanência, o indizível, o impossível da linguagem. O trabalho se apresenta com elementos de luz e sombra buscando um movimento que revela/ desvela o que nem sempre está visível ao primeiro olhar. Utiliza materiais ordinários como gazes, restos de tecidos, vergalhões e barro evocando a transitoriedade. Sua poética transita entre fotografia digital, objetos, esculturas, serigrafia de recorte, monotipia e colagem. Participou de exposições coletivas na Galeria Eixo Reserva, Centro Cultural dos Correios do RJ e Ocupações na Galeria Z42, Casa França Brasil e Parque Lage.
Luciane Villanova was born in Brazil in 1966. She lives and works in Rio de Janeiro. She graduated in Architecture from the Federal University of Rio de Janeiro (UFRJ). She began her training in Visual Arts in 2019, attending courses at EAV - School of Visual Arts at Parque Lage and Eixo Arte. She studied photography with photographers Edu Monteiro and Greice Rosa. The artist's starting point is the desire to investigate remnants, impermanence, the unspeakable, the impossible nature of language. Her work presents elements of light and shadow, seeking a movement that reveals/unveils what is not always visible at first glance. She uses ordinary materials such as gauzes, scraps of fabric, rebar, and clay, evoking transience. Her poetic expression traverses digital photography, objects, sculptures, cut silk screen printing, monotype, and collage. She has participated in group exhibitions at Galeria Eixo Reserva, the Cultural Center of Correios in RJ, and Occupations at Galeria Z42, Casa França Brasil, and Parque Lage.
A liberdade também era isso, não voltar é uma série de quatro trabalhos desenvolvido com pigmentos naturais , argila, restos de tecidos e folhas. Como nos trabalhos anteriores houve o interesse pelos restos ,uma necessidade de buscar no passado algo que ainda pode se transformar em vida, neste caso a artista utilizou materiais provenientes da natureza. O Título do trabalho foi retirado do livro Contos de cães e maus lobos do escritor Valter Hugo Mãe.
Freedom was also this, not going back is a series of four works developed with natural pigments, clay, remnants of fabrics, and leaves. As in previous works, there was an interest in the remnants, a need to seek in the past something that can still be transformed into life; in this case, the artist used materials sourced from nature. The title of the work was taken from the book Tales of Dogs and Bad Wolves by the writer Valter Hugo Mãe.
No fundo, o peso da terra é definitivo véu / In the End, the Weight of the Earth is a Definitive Veil Objeto / Object 110 x 200 cm aproximadamente / approximately gazes tingidas com argila / sterile gauze tinged with clay 2023
Luísa Mathey Settanni
I’m Luísa Mathey Settanni, a visual artist. Since childhood, painting has been my most sincere way of expressing myself—a place where emotions take shape and color, where I don’t need to think, only create. I deeply believe in the power of art and how it serves as a bridge between people. I enjoy portraying nature, landscapes, and scenes that evoke calm, memory, and emotion. My work is guided by a blend of intuition and precision, always aiming to capture what is often seen but not remembered. I’ve had the privilege of participating in exhibitions such as the Grand Prize of the Jockey Club of São Paulo, Fábrica Bhering and Jardim Botânico in Rio de Janeiro, the 20th anniversary edition of the ESFE fair, shows at Luxus Gallery Odisseia, the Associação Paulista de Belas Artes, and the Latin American Academy of Art. Each of these experiences has been a meaningful step in shaping the artist I am becoming. I invite you to walk through these works with an open heart. May each color, texture, and brushstroke awaken something unique in you, just as each painting has awakened something in me.
Sou Luísa Mathey Settanni, artista visual. Desde a infância, a pintura é meu modo mais sincero de me expressar, um lugar onde emoções ganham forma e cor, onde não preciso pensar, apenas criar. Acredito profundamente no poder da arte e como ela serve de ponte entre as pessoas. Gosto de retratar a natureza, paisagens e cenas que transmitem calma, memória e emoção. Minhas obras são guiadas por uma mistura de intuição e precisão, buscando sempre capturar aquilo que muitas vezes é apenas visto e não lembrado. Tive o privilégio de participar de exposições como o Grande Prêmio do Jockey Club de São Paulo, a Fábrica Bhering e o Jardim Botanico no Rio de Janeiro, a feira dos 20 anos da ESFE, Exposições na Luxus Gallery Odisseia, mostras na Associação Paulista de Belas Artes e na Academia Latino-Americana de Arte. Cada uma dessas experiências foi um passo importante na construção da artista que estou me tornando. Convido você a caminhar por essas obras com o coração aberto. Que cada cor, textura e traço desperte algo único em você, assim como cada quadro despertou em mim.
Born in 1956 in Rio Grande do Sul State and lives in Sao Paulo since 1965 It began in painting and drawing in making pontilismo and currently works in acrylic on canvas. Studied the Technical College of Design CommunicationsIADÊ - 1976 Faculty and FAAP Almando Alvares Penteado - Visual Communications - 1980. Solo and collective exhibitions in Brazil and abroad. First Prize for Painting at the Salerno Biennial - Italy 2014.
Expressionism happy
The word expressionism is linked to the concept of a movement from outside to inside that portrays a vision of the world. Usually associated with German thinking, the movement of painting bearing this name is usually marked by cries of pain and war in a world torn apart. Painter gaucho of the City of Sao Paulo, Luiz Cavalli, expresses in joyful expressionism. Inside him, the agony of Europe, which is marked by destruction or scarring, does not exist. His vision of life is poetry. The color is brought to canvas with wide freedom, and relates to the human figure with brilliant intensity in vibrant colored design of forms. There is a way to see the caring human being. Even when it is destroyed by the amount of color and the broad gesture, a few brushstrokes of humor and a vision of people as critical and derision alert on the finite nature of life and the futility of vanity in a world where everything is increasingly ephemeral. In case of vehicles such as cars, bicycles, scooter or carts with sellers of cocada and other food products, the art of Luiz Cavalli grows, because its touch expressionist happy fits naturally to the circular movement and the search for an answer that the dynamism of plastic proposes vehicles. Oscar D'Ambrosio, journalist, is master in the Visual Arts Institute of Arts (IA) of Unesp, câmpus of Sao Paulo and incorporates the International Association of Art Critics (AICA-Section Brazil).
Nasceu em 1956 em Soledade - Rio Grande Sul e vive em São Paulo desde 1965 Iniciou na pintura e no desenho fazendo pontilhismo e atualmente trabalha em acrílico sobre tela cursou o Colégio Técnico de Desenho de Comunicação - IADÊ –1976 e FAAP Faculdade Armando Álvares Penteado - Comunicação Visual – 1980. Exposições Individual e Coletivas no Brasil e no Exterior Primeiro Prêmio em Pintura na Bienal de Salerno – Itália 2014 Intensa visão
Automóveis, bicicletas, lambretas, carrinhos com vendedores de cocada e cadeiras são imagens recorrentes na pintura de Luiz Cavalli. Sua pincelada, livre e em movimentos circulares, é uma solução plástica feliz para transmitir a idéia de um movimento constante. Cores intensas e gestos largos contribuem para introduzir no trabalho uma dose de humor, no sentido de uma aparente fé na própria vida e nas suas potencialidades. Mesmo que a sua pintura traga o conceito inerente de dinamismo e de que tudo é passageiro, prossegue o compromisso com a qualidade. A reflexão poética que cada tela traz é a de uma expressão contínua de amor pela vida e pelo gesto sem freios. Não existem limitações de cor ou de forma a tolher o progressivo desenvolver da pintura. Acima de tudo, está a decisão visual de mergulhar em si mesmo para retirar dali a força motriz de sua obra. O maior mérito de Luiz Cavalli é o poder que ele atinge nas composições. Existe muito mais um caminhar gregário do que uma solidão existencial. As próprias cores utilizadas indiciam justamente o calor da conversa possível com o outro. Assim, Luiz Cavalli traz essa intensidade à tona quanto mais se permite ser fiel a si mesmo. Oscar D’Ambrosio, jornalista, é mestre em Artes Visuais pelo Instituto de Artes da Unesp e integra a Associação Internacional de Críticos de Arte (AICA-Seção Brasil).
Homem de Óculos 150 x 100 cm a.s.t
Manuel Brotons
Linktr.ee/mdelanuez
manuelbdelanuez@gmail.com
This work in Acrylic on Canvas refers to a Visual narrative, a true symphony, in which music and poetry intertwine in a dance of exuberant Spiritual Joy, which can only be expressed in Lyrical abstractionism, inviting the viewer to enter this Garden of dreams and take it with them hanging in their soul. This is all my work. Poetry, Music, Colors that are always well defined, and a Harmony that in the abstract language of symbols that are very worked in a very personal style, sows beauty and enchantment
"A DROP OF FAITH AND JOY IN A SAD WORLD, IN PERMANENT CONFLICT"
Está obra em Acrilico sobre Tela, se reporta a uma narrativa Plástica, verdadeira sinfonia, em que a música e a poesia se entrelaçando numa dança de esfuciante Alegria Espiritual, que expressa num abstracionismo Lírico, convidando quem contempla a penetrar neste Jardim de sonhos e levá-la consigo pendurada na sua alma assim é todo meu trabalho. Poesia, Musica, Cores sempre bem definidas, e uma Harmonia, na linguagem abstrata de simbolos muito trabalhados em estilo bem pessoal, semeiam beleza e encantamento " UMA GOTA DE FÊ E ALEGRIA NUM"
expressionism
Sinfonia Plastica / Plastic Symphony
O Jardim das Delícias / The Garden of Earthly Delights
60 x 80 cm
acrilico sobre tela / acrylic on canvas expressionismo abstrato / abstract
Marcos Askard
Marcos Alves é artista visual e explora sua poética por meio de múltiplas linguagens da pintura à escultura, passando por instalações, grafite e tatuagem. Seu trabalho propõe encontros entre o efêmero e o permanente, o corpo e a cidade. Suas obras já foram apresentadas em instituições como o Museu da República, no Rio de Janeiro. Nascido em Teresina, Marcos constrói uma ponte entre a ancestralidade que carrega da infância no Nordeste e as tensões da metrópole carioca, onde vive desde 2000. Suas obras transitam entre passado e futuro, carregam traços de crítica e ficção, refletindo uma pesquisa sensível sobre símbolos urbanos, transformação, resistência e protopia. Como tatuador, foi reconhecido em importantes convenções da área, tendo conquistado o primeiro lugar nas categorias Old School e Série de Desenhos, e o segundo lugar na categoria Portrait Colorido.
Pirá - peixe de três manchas. Essa obra mistura a art brut com uma reprodução geométrica do peixe pirá, símbolo de sustento e mistério. Na obra, ele não é apenas presença nas águas. É um espírito que atravessa tempos, resistência que nada contra a corrente. Cada linha, um rio. Cada cor, uma memória.
Marcos Alves is a visual artist whose practice unfolds across multiple mediums from painting and sculpture to installations, graffiti, and tattooing. His work explores encounters between the ephemeral and the permanent, the body and the city. His pieces have been exhibited in institutions such as the Museum of the Republic in Rio de Janeiro. Born in Teresina, in Brazil’s Northeast, Marcos weaves together the ancestral roots of his childhood with the urban tensions of Rio de Janeiro, where he has lived since 2000. His creations move between past and future, blending critique and fiction in a poetic investigation of urban symbols, transformation, resistance, and protopian thinking. As a tattoo artist, he has been recognized at major conventions, earning first place in the Old School category.
Pirá - the fish with three stripes. This work blends art brut and geometry, reproducing the Pirá fish, a symbol of sustenance and mystery. In this work, the fish is not just presence among the waters: it is a spirit that crosses times, resistance that swims against the current. Each line is a river. Each color, a memory.
Peixe Piau-três-manchas
120 x 80 cm tinta acrílica 2025
Fantasy
Tinta acrílica sobre tela
Dimensão da tela: 50 x 60 cm
Data de término da obra: 13 de maio de 2024.
Marcus Frade
www.marcusfrade.com.br
E-mail: contato@marcusfrade.com.br
Instagram: @marcusfrade.art
Fantasy
Acrylic paint on canvas
Canvas size: 50 x 60 cm
Construction start date: December 19, 2023. Construction completion date: May 13, 2024.
Marcus Frade é um artista vindo do subúrbio do Rio de Janeiro. Possui um trabalho com linguagem orgânica permeado por cores vibrantes. Seu processo criativo é dinâmico e compreende técnicas variadas, interligando conceito, projeto e prática. Quando quer extrapolar a sua arte para o lado sensorial, por exemplo, utiliza da modelagem. Utiliza como base um abstracionismo lírico inspirado no seu próprio instinto e inconsciente, jogando com formas orgânicas e cores vibrantes dentro de linhas de contorno sinuosas de espessuras diferentes.
Marcus Frade is an artist from the suburbs of Rio de Janeiro. His work uses an organic language permeated by vibrant colors. His creative process is dynamic and encompasses a variety of techniques, intertwining concept, design, and practice. When he wants to extrapolate his art to the sensorial realm, for example, he uses modeling. He uses as a basis a lyrical abstractionism inspired by his own instinct and unconscious, playing with organic forms and vibrant colors within sinuous contour lines of varying thicknesses.
Fantasy é uma celebração da imaginação e da criatividade humana, materializada em uma tela vibrante através da tinta acrílica. Esta pintura transcende o realismo, mergulhando o espectador em um mundo onírico, onde as cores e as formas se fundem para criar uma narrativa visual única. Pode-se ver uma representação dos sonhos, dos reinos da imaginação ou mesmo das emoções humanas mais profundas. A ausência de um tema claro e definido é intencional, permitindo que cada pessoa projete suas próprias experiências e sentimentos na pintura. Afinal é uma janela para um mundo de possibilidades infinitas. Através de sua composição evocativa, a obra desafia o espectador a sonhar e imaginar. É um testemunho do poder transformador da arte, capaz de transportar-nos além da realidade cotidiana para reinos onde tudo é possível. Esta obra participou das exposições:
- Abraço coletivo na Galeria Canteiro SP de 29/04/2025 a 03/05/2025.
- Comemorativa 150 anos do Jockey Club SP. de 08/05/2025 a 22/06/2025.
"Fantasy" is a celebration of human imagination and creativity, materialized on a vibrant canvas through acrylic paint. This painting transcends realism, immersing the viewer in a dreamlike world where colors and shapes blend to create a unique visual narrative. One can see a representation of dreams, realms of imagination, or even the deepest human emotions. The absence of a clear, defined theme is intentional, allowing each person to project their own experiences and feelings onto the painting. Ultimately, it is a window to a world of infinite possibilities. Through its evocative composition, the work challenges the viewer to dream and imagine. It is a testament to the transformative power of art, capable of transporting us beyond everyday reality to realms where anything is possible.
This work was featured in the following exhibitions:
- Collective Embrace at Galeria Canteiro SP from 04/29/2025 to 05/03/2025.
- Commemorative 150 years of Jockey Club SP from 05/08/2025 to 06/22/2025.
Mayawari Mehinako
I am Mayawari Mehinako, an artist in aesthetic wood design of zoophilic forms of Brazilian fauna. I live in the Kaupüna village located in the Xingu Indigenous Park - MT. My professional training is in education as a teacher graduated in three areas of knowledge of languages, arts and literature. I was the founder of the Xepi Brazilian Indigenous Art Institute, which is a private institution of the community. I currently dedicate my profession more to artistic projects as a curator, exhibitor, speaker, and seller of Mehinaku art products. I am part of the leadership of my community representing community projects. I make art products that men produce, and I also promote pieces made by women, for example: benches inspired by Brazilian fauna, spiritual masks, basketry, oars, clubs, necklaces, bracelets, mats, hammocks, gourd gourds, wind chimes, sundials, ceramic pots and little animals.
Sou Mayawari Mehinako artista em design estética em madeira de formas zomoficos da fauna brasileira. Moro na aldeia Kaupüna localizada no Parque Indígena Xingu - MT. Minha formação profissional em educação como professor graduado em três de ares de conhecimentos línguas, artes e literaturas. Fui fundador do Instituto de Arte Indígena Brasileira Xepi que é uma instituição privado da comunidade. Atualmente dedico minha profissão mais nos projetos artísticos de curadoria, expositor, palestrante, comerciante de produtos de artes Mehinaku. Faço parte da liderança de representatividade da minha comunidade em busca de projetos comunitários. Faço os produtos de artes que os homens produzem e também divulgo as peças feitas peças mulheres, por exemplos: bancos de inspirações de fauna brasileira, máscaras espirituais, cestaria, remos, Bordunas, colares, pulseiras, esteiras, redes, cuias de cabaças, cara ventos, sunidores, panelas de cerâmicas e bichinhos.
Humano, demasiadamente humano 60 x 40 cm
AST 2024
Descrição: Retrata a fraqueza do Homem que se ajoelha, se curva em busca de amenizar sua dor, sua miséria humana e demonstra sua fragilidade a si mesmo (ou ao seu Deus), com seus arrependimentos e suas dores diante da vida que está posta e que lhe consome.
Description: It portrays the weakness of the Man who kneels, bends down in search of alleviating his pain, his human misery and demonstrates his fragility to himself (or to his God), with his regrets and his pain in the face of the life that is set before him and that consumes.
Nelson da Tribo
Instagram: @nelsontattao.rj
Nelson é um artista colombiano, nascido em Bogotá. Após cursar Design Gráfico na universidade, decidiu se mudar para Cartagena, no Caribe Colombiano, onde começou a fazer desenhos da cidade e das famosas Palenqueras – mulheres negras, descendentes de escravizados , que tradicionalmente vendem frutas nas ruas vestindo roupas coloridas e vibrantes, símbolo da cultura afro-caribenha. Viajou pela América do Sul para aprimorar suas habilidades artísticas e, em seguida, mudou-se para a Suíça para estudar Belas Artes na ESBA em Genebra, atual HEAD. Ao retornar à América do Sul, escolheu o Brasil para continuar sua arte de forma itinerante, incluindo experiências com tribos indígenas e comunidades de artistas de rua. Nelson é pintor, muralista, desenhista e tatuador. Atualmente, mora no charmoso bairro de Santa Teresa, no Rio de Janeiro. Seu trabalho celebra a natureza e as culturas indígenas. Além da pintura, ele explora materiais recicláveis, destacando a importância da preservação do meio ambiente.
Nelson is a Colombian artist, born in Bogotá. After his university years studying Graphic Design, he decided to move to Cartagena, in the Colombian Caribbean. There he began to draw pictures of the city and the famous Palenqueras - Black women, descendants of enslaved people - who traditionally sell fruits in the streets wearing colorful and vibrant clothes, a symbol of Afro-Caribbean culture. He traveled around South America to improve his artistic skills, then he moved to Switzerland to study Fine Arts at ESBA in Geneva, now HEAD. Upon his return to South America, he chose Brazil to continue his art on an itinerant basis, including experiences with Indigenous tribes and communities of street artists. Nelson is a painter, muralist, designer, and tattoo artist. He currently lives in the charming neighborhood of Santa Teresa, in Rio de Janeiro. His work celebrates nature and Native cultures. Alongside painting, he explores recyclable materials, highlighting the importance of preserving the environment.
90 x 140 cm spray and acrylic on canvas 2025
Neuza Petti
www.neuzanazarpetti.com.br
The search for simplicity - to get a result that easily dialogues with the spectator - starts with the choice of a support: a simple canvas that receives coal and acrylic, allowing a direct reading of the artist's intention. If the coherence is kept, there is no need for a picture frame. It is almost an improvisation.
A procura da simplicidade.Chegar ao resultado que conversa com o expectador de uma forma fácil. Começa na escolha do suporte, a tela simples que recebe o carvão e o acrílico, permitindo uma leitura direta da intenção do artista. Mantendo a coerência, dispensa a moldura. Quase um improviso.
Paulo Rosae
Paulo Rosae graduou-se em Arte-Educação pela Escola Guignard – Universidade do Estado de Minas Gerais em 2011. Em 2021, finalizou a pós-graduação em arquitetura de interiores pela Faculdade Metropolitana de S. P. Atualmente leciona arte em algumas escolas em Belo Horizonte/ MG. Como artista visual, direciona sua pesquisa e produção para a pintura abstrata utilizando como referência interposição e construção de formas geométricas e uso intenso de cores, misturas e técnicas próprias e a literatura como ponto de partida.
Paulo Rosae graduated in Art Education from the Guignard School - Minas Gerais State University in 2011. In 2021, he completed a postgraduate degree in interior architecture at the Metropolitan College of São Paulo. He currently teaches art at some schools in Belo Horizonte, Minas Gerais. As a visual artist, she directs her research and production towards abstract painting, using as a reference the interposition and construction of geometric shapes and the intense use of colors, mixtures and her own techniques, and literature as a starting point.
7 Sem título 120 x 100 cm acrílica sobre tela 2024
Pedro Teixeira Prandini
Pedro Teixeira Prandini, artista plástico, natural de São Paulo. Autodidata, na infância e adolescência teve experiências com várias formas de expressão artística,com materias e técnicas diversos,devido à sua formação em escola orientada pela Waldorf A experiência com tricô, madeira, metal, pintura cerâmica, aquarela e outras técnicas de desenho vivida no início de sua formação deixam como marca uma curiosidade constante e um gosto pela pesquisa. Como formação acadêmica, cursou Design Gráfico no Senac e Artes Plásticas na Faculdade de Belas Artes em são Paulo, não chegando a concluí-los. De 2010 a 2020 desenvolveu várias técnicas de pinturas em tecidos e a partir disso tem pesquisado vários materiais reciclados, resina, epox. Atualmente pesquisa e desenvolve técnicas de derramamento de tintas, aliadas a outros materiais, criando efeitos de texturas, bolhas. A arte abstrata tem sua preferência por retratar estados psíquicos, sentimentos e também pelo efeito de surpresa que ocorre, entre a intenção do artista e o resultado.
Pedro Teixeira Prandini, plastic artist, born in São Paulo. Self -taught, childhood and adolescence had experiences with various forms of artistic expression, with diverse materials and techniques, due to their formation in school guided by Waldorf The experience with knitting, wood, metal, ceramic painting, watercolor and other design techniques lived at the beginning of their formation leaves a constant curiosity and a taste for research as a mark. As an academic background, he studied graphic design at Senac and Fine Arts at the Faculty of Fine Arts in São Paulo, not completing them. From 2010 to 2020 developed various techniques of painting in tissues and from this has researched various recycled materials, resin, epox. Currently research and develops paint spill techniques, combined with other materials, creating textures, bubbles. Abstract art has its preference for portraying psychic states, feelings and also for the surprise effect that occurs, between the artist's intention and the result.
Maré de Cores 160 x 110 cm
Rodrigo de Matos Rocha
Brasil
Sou artista plástico, natural de Salvador, Bahia, e venho desenvolvendo meu trabalho com desenho realista há 10 anos de forma ininterrupta. A conexão com a arte começou na infância, mas foi aos 20 anos que decidi seguir profissionalmente criando retratos sob encomenda, lecionando e utilizando o desenho como ferramenta terapêutica e educativa.
Ao longo dessa jornada, tive a honra de colaborar com pessoas de diferentes partes do mundo, amadurecendo técnica e sensibilidade. Em 2023, iniciei uma importante parceria com a Ava Galleria, que impulsionou minha presença em exposições nacionais e internacionais.
Estar presente fisicamente na Bienal de Helsinki 2025 é uma realização pessoal e artística que carrego com imensa alegria e gratidão. A oportunidade de compartilhar meu trabalho com um público tão diverso e de integrar esse evento tão significativo no cenário internacional é, sem dúvida, um marco em minha trajetória. Agradeço à organização da Bienal por tornar isso possível.
Rodrigo de Matos Rocha Brazil
I am a visual artist from Salvador, Bahia, and I have been developing my work in realistic drawing for 10 uninterrupted years. My connection with art began in childhood, but it was at the age of 20 that I decided to pursue it professionally creating commissioned portraits, teaching, and using drawing as a therapeutic and educational tool.
Throughout this journey, I’ve had the honor of collaborating with people from different parts of the world, continuously refining both technique and sensitivity. In 2023, I began an important partnership with Ava Galleria, which has greatly expanded my presence in national and international exhibitions.
Being physically present at the Helsinki Biennial 2025 is both a personal and artistic milestone that I embrace with deep joy and gratitude. The opportunity to share my work with such a diverse audience, and to be part of an event of this magnitude on the international art scene, is truly remarkable. I sincerely thank the Biennial organization for making this possible.
SUSTAINABLE ART
Rosi Araujo
Rosi Araujo, é indígena artista plástica. Rosi Araujo is an indigenous visual artist. Instagram: @rosiaraujoarte rosiaraujoarte@gmail.com
Material Reutilizado, pigmentos naturais, inspiração natureza, cores e vida. Coleção: e(ART)h, EH ART !!! ARGILA MINERAIS, CARVÃO , URUCUM E GUACHE.
As Cores, linhas, curvas, textura e movimentos, dançam na tela como um cerimonial espiritual ancestral, reafirmando a resistência pela defesa da saúde da TERRA (Pindorama, Abya Yala), demarcando seus territórios, registrando as diferentes cosmovisões dos povos originários.
A sobreposição dos grafismos, podem ser interpretados como essa RESISTÊNCIA, nas interfaces da matriz indígena da atmosfera cultural, artística e ambiental (terra, rios, mares, montanhas, fauna e flora) que influenciaram na essência da formação dos povos destas terras.
SUSTAINABLE ART
Recycled materials, natural pigments, inspired by nature, colors, and life. Collection: e(ART)h, EH ART!!! CLAY, MINERALS, CHARCOAL, URUCUM, AND GUACHE.
The colors, lines, curves, texture and movements dance on the screen like an ancestral spiritual ceremony, reaffirming the resistance for the defense of the health of the EARTH (Pindorama, Abya Yala), demarcating their territories, recording the different worldviews of the original peoples. The overlapping of graphics can be interpreted as this RESISTANCE, in the interfaces of the indigenous matrix of the cultural, artistic and environmental atmosphere (land, rivers, seas, mountains, fauna and flora) that influenced the essence of the formation of the people of these lands.
Sheila Rèis
Artista visual, educadora e desenho terapeuta, com trajetória dedicada ao despertar sensível através da arte. Radicada em Miguel Pereira – RJ, sua pesquisa atravessa o abstrato, explorando o corpo, a cor e os gestos como territórios de expressão e receptividade intuitiva. Atua com oficinas criativas baseadas no método Varnemen (lado direito do cérebro e autoconhecimento) desenvolve práticas em arte e consciência corporal. Seu trabalho transita entre o visível e o intangível, evocando camadas de memória e percepção. Cada obra nasce da relação intuitiva com o mundo e com o outro, em processos que acolhem a potência do acaso, da presença e da transformação.
Visual artist, educator, and drawing therapist, with a career dedicated to awakening the senses through art. Based in Miguel Pereira, RJ, her research traverses the abstract, exploring the body, color, and gestures as territories of expression and intuitive receptivity. She works with creative workshops based on the Varnemen method (right-brain and self-knowledge) and develops practices in art and body awareness. Her work moves between the visible and the intangible, evoking layers of memory and perception. Each work arises from an intuitive relationship with the world and with others, in processes that embrace the power of chance, presence, and transformation.
Série Abstratos Coloridos
Num espaço branco há infinitas possibilidades. E, nesse momento, sinto um ímpeto de saber: como as cores surgiriam? Quais se harmonizam e quais se contrapõem? A forma vai para segundo plano. As cores se expandem, se interpenetram, misturam-se, recolhem-se, sustentam outras cores, desaparecem na tela e reaparecem intensas do outro lado. Vou administrando essa complexidade, instigando novos movimentos e misturas. Antes, uma tela ou papel em branco me assustava. Agora, não mais. A tela e as cores "conversam" comigo e esse diálogo se concretiza.
Colored Abstractions Series
In a white space, infinite possibilities emerge. At this moment, I feel an urge to know: how would the colors appear? Which ones harmonize and which ones oppose each other? Form takes a back seat. Colors expand, interpenetrate, blend, withdraw, support other colors, disappear from the canvas and reappear intensely on the other side. I manage this complexity, provoking new movements and mixtures. Once, a blank canvas or sheet would frighten me. Now, not anymore. The canvas and the colors "talk" to me and this dialogue becomes real.
Abstrato sem título / Untitled Abstraction
Série Abstratos Coloridos / Colored Abstractions Series
47 x 118 cm
técnica mista e colagem sobre tela / mixed media and collage on canvas
2022
Silvio Ferraz
e suas inéditas obras em madeira torneada
As obras de arte em madeira criadas pelo engenheiro brasileiro Silvio Luz Ferraz são ambientalmente sustentáveis. As peças únicas, com diversos designs, são elaboradas com madeira de poda ou demolição, especialmente as tidas como estragadas pelo tempo e cupins. As obras são magníficos objetos ocos, bowls, potes, tigelas, esferas, ânforas, gotas, urnas, garrafas, peças de xadres gigantes, cubas, esculturas e outros. “Em 2014, fiquei uma semana em Chicago (USA), depois de uma pescaria em Vancouver (Canadá) -adoro pescar!- afim de conhecer a Arquitetura e a História da reconstrução daquela cidade que pegou fogo duas vezes no final do século XIX. Conheci a revolução arquitetônica iniciada por Frank Lloyd Wright. Vi algumas peças torneadas em madeira influenciadas por este grande arquiteto e pela New Bauhaus e pensei VOU COMPRAR UM TORNO! Não há fabricação de tornos para madeira no Brasil. Nem ferramentas. Então, comprei um torno da década de sessenta, importei cinco ferramentas americanas da Thompson, e em 07/09/2016 fiz a minha primeira peça. Sem treinamento, absorvi um pouco das técnicas contando com o meu instinto. Muito elogios me deram o impulso para aproveitar os fins de semana para produzir. Alguns meses depois, um grande escritor, poeta, jornalista e crítico de arte, mestre Rogério Zola Santiago, viu algumas peças minhas, adorou, me entrevistou e publicou uma reportagem na revista EXCLUSIVE. Foi assim que meu hobby de fim de semana se transformou na minha Arte. Hoje, meu acervo conta com mais de 500 peças.”
Silvio Ferraz and his unprecedented works in turned wood
The wooden works of art created by Brazilian engineer Silvio Luz Ferraz are environmentally sustainable. The unique pieces, with different designs, are made with pruning or demolition wood, especially those considered to be damaged by time and termites. The works are magnificent hollow objects, bowls, pots, spheres, amphoras, drops, urns, bottles,
giant chess pieces, vats, sculptures and others. “In 2014, after fishing in Vancouver (Canada) -I love fishing! -I spent a week in Chicago (USA),in order to learn about the architecture and history of the reconstruction of that city that burned twice at the end of the 19th century. I got to know the architectural revolution started by Frank Lloyd Wright. I saw some wooden turned pieces influenced by this great architect and the New Bauhaus and I thought I'M GOING TO BUY A LATHE! There is no manufacture of lathes for wood in Brazil. No tools. So, I bought a lathe from the sixties, imported five American tools from Thompson, and on 9/7/2016 I made my first piece. With no training, I learned some of the techniques by relying on my instinct. Lots of compliments gave me the impetus to use all of the weekends to work on new pieces. A few months later, a great writer, poet, journalist and art critic, master Rogério Zola Santiago, saw some of my pieces, loved them, interviewed me and published an article in EXCLUSIVE magazine. That's how my weekend hobby became my Art. Today, my collection has more than 500 pieces.”
Título (Title): Bowl Dubium Técnica (Technique): Woodturning
Local e data de criação (Place and date of creation): Lagoa Santa-MG, Brasil – 14/07/24
Dimensões (Dimensions): 45cm(diâmetro -diameter) x 26cm (altura-heigth)
Descrição (Description): Bowl torneado a mão em madeira de poda, madeira (Angico AmareloTulipeira- Peltophorum dubium), acabamento em Laca Indiana - Bowl in pruning wood (T madeira (Angico Amarelo - Tulipeira- Peltophorum dubium), finishing in Indian lacquer finish. Serial number-WT482
Solange Greco
My name is Solange Greco and I began to paint vey early, at 13 years old. At eighteen years old I decided to study seriously in the School of Fine Arts of Rio de Janeiro, Brazil. Two years later I went to study in an open atelier of modern arts as well as with a famous Brazilian painter, Ivan Serpa. From there I went to live in Brasília and afterwords, many other countries. I am married to a diplomat who, due to his work has given me the opportunity to study with some famous painters in several countries. In Latin America (El Salvador), I studied with (Maira Barraza, Rosa Mena Valenzuela and Antonio Garcia Ponce). Since then I had contemporary art shows in many countries. In El Salvador, I had six exhibitions, in Finland, I had four exhibitions, in Brazil, again, another one. In Italy, I presented two exhibitions, in Turkey, I presented two other art expositions and finally back in Brazil I presented three art expositions. Painting to me is my way of expressing myself and my realistic way of seeing and observing the world around me.
Meu nome é Solange Greco e comecei a pintar muito cedo, aos 13 anos. Aos 18 anos decidi estudar seriamente na Escola de Belas Artes no Rio de Janeiro, Brasil. Dois anos mais tarde fui estudar num atelier de arte moderna, e também com um famoso pintor brasileiro, Ivan Serpa. Depois fui para Brasília e mais tarde para muitos outros países. Sou casada com um diplomata, o que me permitiu por causa de seu trabalho a oportunidade de estudar com muitos pintores famosos em vários países. Na América Latina, (El Salvador), estudei com (Maira Barraza, Rosa Mena Valenzuela e Antonio Garcia Ponce). Desde então realizei várias exposições em muitos países. Em El Salvador, fiz seis exposições, na Finlandia quatro e de volta ao Brasil, uma exposição. Depois duas exposições na Itália, mais duas exibições na Turquia e finalmente de volta ao Brasil, três exibições. Pintar para mim é minha maneira de me expressar realisticamente e de ver e observar o mundo à minha volta. Além disso tenho quadros espalhados por vários países.
Cocoa / Cacau / Kaakao
90 x 103 cm oil / óleo / öljy
Yana Purger Brazil
Yana Purger is a jewelry designer, stylist and visual artist from Minas Gerais, resident and domiciled in Rio de Janeiro, the city in which she has established herself and put down roots since she was twenty years old.
With creativity, the disposal of leather from jewelry gained a new destination. Disruptive, Yana gave free rein to her imagination and developed a unique and previously unknown technique to sculpt leather – previously used in the pieces and accessories produced – on canvas.
The high-relief multidimensional aspect of the works reveals the special and pioneering touch of her art. Whether with the most varied objects, whether with light or dense strokes of paint, Yana found, in her work, a special and innovative way of expressing herself and dialoguing with the world.
