Artio Magazine / Issue 9 / 2025 by artiogallery

ART IO

CULTURE

Cover

Artist: Christian Kleiman / Eager to Be / 76 x 100 cm

Director/Curator in Chief

Bisa Bennett

An accomplished and experienced artist herself, Bisa Bennett understands the importance of creating meaningful opportunities for artists to exhibit their work. As a curator and multimedia designer, she is also well-versed in creating engaging opportunities for viewers to experience art. “At our gallery, our vision is to serve as a dynamic and inclusive platform that fosters connections between artists and art enthusiasts, nurturing a vibrant and diverse artistic community,” she explains.

Cover Photo Artist: Karaya

Instagram: artio.art.gallery

Email: exhibit@artiogallery.com

CHRISTIAN KLEIMAN INTERVIEW

24 WOMEN ARTISTS AND THE ART MARKET

32 THE ENDURING POWER OF SELF-PORTRAITURE

CHRISTIAN KLEIMAN’S MICROVERSE

CHRISTIAN KLEIMAN

Over20 years ago, artist Christian Kleiman discovered a unique photography innovation when working as a skipper on a powerboat. He created a ‘flying camera’ from scratch: a unique piece of equipment that allowed him to take incredible aerial imagery. The original system involved a camera fixed onto a radio-controlled pan-tilt platform. This was then hung on a small parachute that could lift all the equipment in the air. Leaving behind his nautical career, Kleiman became a forerunner in the practice of both aerial and 360 panoramic photography. Since then, he has refined his technique even further, crafting ever more creative and innovative concepts.

The artist’s Tiny Planet series captures the world in new and unexpected ways, resulting in enthralling images infused with surrealism, abstraction and narrative storytelling. Kleiman’s eye for composition results in captivating images that present the world in microcosm, like landscapes in a floating bubble: the artist’s very own ‘microverse.’

Thecreation of each piece involves a painstaking process, “My process for creating Tiny Planet artwork involves a meticulous, multi-step approach requiring professional equipment, sophisticated software, and extensive dedication,” the artist explains. It begins with a photo shoot using a 360-degree rotating head with a Fisheye Lens, resulting in 12 raw photos. The artist then works with these images in post-processing, carefully crafting, collaging, stitching and removing elements. Kleiman elaborates, “The 360-degree panoramic image is then transformed into a Tiny Planet by adjusting stereographic projection settings to achieve the desired effect. Final retouching involves fine-tuning exposure, highlights, darks, and contrast to produce a high-quality masterpiece reflecting my passion and commitment.”

Kleiman’s images alter our perception, bringing the viewer into a new relationship with the planet and our surroundings. As the artist states, “I hope people will be inspired to view familiar places in a new light, appreciating the hidden beauty and uniqueness of each landscape. Through my Tiny Planets, I want viewers to feel a sense of wonder and curiosity, recognising the delicate, interconnected ecosystems that make every place special.”

Joy Ride III / 76 x 100 cm / Fine Art Print

Combining new technologies with a uniquely handcrafted approach, Kleiman’s work is defined by innovation and artistry. “I plan to continue pushing the boundaries of fine art photography by experimenting with new technologies and techniques to further evolve my Tiny Planet concept,” Kleiman states, “My journey is driven by a relentless pursuit of unseen perspectives, and I’m excited to discover where this exploration leads next.”

La Mouche / 76 x

CARLOS ABRAHAM

Carlos Abraham’s photographic images embrace the beauty of the human form. Subjects are positioned in classical poses, often in enigmatic landscapes and architectural tableaux. In Bosque Katana, a male figure is captured in a monochrome forest. In Cajetes, a winged man surveys the desert landscape, while we see a muscular figure in front of an ornately decorated doorway in David Puerta. The juxtaposition of the body against these detailed backdrops highlights the corporeality and sensuality of the male form. The artist’s carefully crafted compositions have an open-ended quality, wherein the viewer is invited to complete the narrative. Abraham has exhibited throughout Mexico and Buenos Aires. His work is held in the permanent collection of the National Institute of Anthropology and History of Mexico.

Bosque Katana / Photography / 28 X 43 cm

High Summer / Acrylic on paper / 29 X 46 cm

BRIDGET FARRANDS

Bridget

Farrands’ rhythmic paintings represent the experience of a place or feeling. Working primarily in acrylic and oil, the artist paints landscapes and still life, interpreting the mood, structure and emotion contained within her subjects. Farrands explains, “My landscapes are places I have visited where I have been moved by walking in them. My still life paintings are typically full of nature - flowers, shrubs or dramatic shapes which just ask to be painted.” Finding inspiration in the work of artists such as David Hockney and Joan Eardley, ultimately Farrands’ visual language is uniquely her own, incorporating a rich palette of vibrant colour and expressionistic painterly forms. Works such as High Summer, Anniversary Bouquet and Summer by the Thames are luminous with light, movement and colour.

Summer by the Thames / Acrylic on paper / 42 X 59 cm

Windy Autumn Day / Acrylic on canvas / 66 X 40 cm

CLAUDI PIRIPIPPI

Claudi

Piripippi’s practice is a deeply personal endeavour that confronts universal themes. “It’s a collaboration with my consciousness: a collective of voices and mysterious energies that guide my practice,” The artist explains, “That’s what drives my practice, to create a space for the soul - with all the elements that make the earth and the sky and the sea and me and us and more - to love.” In works such as Reiss Dich Zusammen (and Let Go) and I am Not in Your Gaze, organic forms are intertwined with the human body in surreal compositions that have a mythical, mystical quality. Inner human nature appears inseparable from untamed external nature. Other works such as You Are Not In My Scream and Plastic Scream, suggest pain, anguish and the desire for liberation.

I am not in your gaze / digital print on photo paper / 50 X 68cm

Reiss dich zusammen (and let go) / digital print on photo paper / 50 X 68cm

ETIENNE VACHER

Etienne Vacher is an artist who is passionate about photography. Based in the South of France, he uses the camera to explore and frame the beauty of his surroundings, from streets and sculptures to buildings and landscapes. Inspired by Ansel Adams, with a keen eye for detail and composition, Vacher’s images capture the feeling of a place or subject, distilling its intricacies. Photography “makes me realise that we live in a world full of beautiful things,” explains the artist. Cats are one of the artist’s favourite subjects. In The Predator Cat and The Lady Cat, Vacher photographs the cats of the Côte d’Azur, depicting their graceful presence. These images transform everyday domestic animals into subjects that are regal and mysterious.

The Predator Cat / Photography

The Lady Cat / Photography

FERAYE

Feraye’s fascinating artistic practice explores ways of seeing and ways of knowing – combining science, spirituality, and indigenous knowledge to examine universal themes relating to existence and reality. Her abstract works such as Eigenvector, Milam Bardo Second Bardo of Dream State, and Wave Particle Duality are ethereal and organic, containing within them a sense of energy and light. Feraye employs various printing and painting techniques, including ink, watercolour, and Augmented Reality (AR). The artist explains, “In the same way that science and spirituality inform us, art is also another language of the mystical and the unexplainable. When art synthesises with science and spirituality, it can be utilised as a powerful tool to elucidate the true nature of our existence.

GALINA LOGIS

Galina Logis works primarily in acrylic on canvas. The artist’s paintings combine abstraction and figuration, often depicting female figures or subjects from the world around her. Logis intends for her work to be a point of connection and a way of communicating her personal memories and deep emotions. Her abstract works explore themes of love, memory, motherhood, and resilience. Logis describes her art as a reflection of “the invisible threads that connect us as human beings.” Works such as Heartbeat of Love and Golden Silence embody the artist’s intuitive practice and gestural brush strokes. Fluid lines, a vivid colour palette and accents of gold come together to create images that are at once striking and familiar.

Heartbeat of Love / Acrylic on canvas / 50X60 cm

Golden Silence / Mixed media on canvas / 60X90 cm

Women Artists and the Art Market

In1989 the radical art collective The Guerilla Girls created one of their now famous artworks entitled ‘Do women have to be naked to get into the Met. Museum?’ The piece, a large billboard-style poster that appeared on the side of New York City buses, commented on the distinct lack of work by living contemporary female artists in one of America’s most hallowed institutions. In 2015 the collective returned to this subject in the work ‘How Many Women Had One-person Exhibitions At NYC Museums Last Year?’ The piece made a side-by-side comparison between female solo shows in 1985 and female solo shows in 2015. The answer is not as many as you might think, with only a single show in each major museum (the Guggenheim, Whitney, and Metropolitan Museum of Modern Art) and two shows at MoMA. Just one more show than in 1985. Not much advancement in 30 years. Such large public institutions are a barometer for understanding the art market and how art is valued. In the year 2024, how is art by female artists valued and represented by the art market? Artio explores this question and looks forward to September and the London Women in Art Biennale.

On the occasion of International Women’s Day, Artsy published ‘The Women Artists Market Report 2024’ to examine the position of female artists in the context of the commercial art market. Using data Artsy-specific data, the report explored trends in terms of sales enquiries and shone a light on the in-demand female artists gaining traction in the art market. Artsy found that when looking at sales enquiries on their site for 2023, only 25% of enquiries were for artworks by female-identifying artists. However, when they narrowed the data down to ultra-contemporary artists (artists born

in or after 1975) 35% of inquiries were for works by female artists. When narrowing the data set further to Gen Z artists (born after 1977) the number of works by female artists rose to 51%. Suggesting that in the context of younger artists, commercial interest is more equitable in terms of gender. Artsy also traced a distinct year-on-year growth in commercial enquiries and followers for certain female-identifying artists represented by Artsy. While the report documented significant developments in terms of female artists gaining commercial attention in a traditionally male-dominated art ecosystem, the majority of those artists documented were white and Western. The report identified a need for greater diversity and further investigation into the position of non-binary gendered artists in the art market.

In January of this year, Karina Tsui wrote in Semafor “Art by women is soaring in value as buyers seek to rewrite history.” Referencing an Artnet article comparing data on the annual auction revenue of 500 leading artists in 2023 and 2022, Tsui describes a shift in the auction market as older male fixtures, such as Andy Warhol and Frances Bacon declined in the auction rankings. While works by late female artists such as Barbara Hepworth and Lee Krasner were acquired by museums seeking to reevaluate institutional art historical biases. Tsui also remarks on the rise of African female artists in the auction rankings and an increase in women being appointed to senior positions in the art world. For example, in 2023, Mariët Westermann took the role of Director and CEO of the Guggenheim, the first ever woman to hold this position.

More recently in in March of this year, Charlotte Burns asked, “Why is the art industry

The Biennale of Women In Art

still failing women and what needs to be done?” In her article for Art Basel, Burns suggests that despite some moments of progress there is much to be done in terms of institutional gender parity and that “Affording female artists the time, space, and economic freedom to make their own work remains a radical act.” An act so historically rare, that only 1% of the National Gallery’s collection in London is made up of female artists.

It is clear that in the museum world and commercial art market, the position of women artists is a contested and complicated one. Indeed, The Guerilla Girls continue to perform their radical acts of conceptual art to expose sexism and racism in the art market and the world at large. One of their strategies is to expose the invisibility of women in traditional institutional and cultural structures of power.

The conversation about the role of female artists in the art world is an essential and ongoing one. In September of this year, The London Women in Art Biennale will contribute to this conversation by bringing together established and emerging female artists working across all media. Over 200 artists from over 50 countries will exhibit their work in London’s Chelsea Old Town Hall, presenting a truly global art of female artistic visibility. ■

is a global art event designed to celebrate contemporary emale artists.

Bringing together over 200 artists from over 50 countries, this carefully curated exhibition will provide a unique opportunity for visitors to acquire artwork by new and established talent, and to give voice to previously underrepresented artists.

The Biennale of Women In Art is an important occasion to build upon existing efforts worldwide that strive for more balanced gender representation in the art realm. The exhibition will develop and reinforce the momentum of this movement, providing a platform to showcase the creative ingenuity, unique perspectives, and shared humanity of a global collection of female artists.

We look forward to welcoming thousands of art lovers, interior designers, curators and collectors across 4 days in the heart of West London. The event will incorporate a program of talks and an awards presentation.

In an increasingly interconnected world, artistic expression knows no boundaries. The Biennale of Women in Art celebrates the diverse talents of female artists who have transcended geographical and cultural limits to create works that resonate on a global scale.

Explore the extraordinary female artists selected for the 2024 edition of the London Biennale of Women in Art. ■

Untitled

JIM BLACK

Abstract painter Jim Black graduated from Virginia Commonwealth University in 2003 with a Bachelor of Fine Arts in Painting and Printmaking. Originally from North Carolina, Jim has been part of the vibrant art scene in Richmond, VA for over 20 years. He has exhibited his work in-person at Virginia-based art galleries and through several online venues. His artworks are part of numerous private and corporate collections in Virginia, Florida, Chicago, California, Philadelphia, North Carolina, and Washington, D.C.

Jim Black’s paintings contain within them the exciting tension between ambiguity and revelation. Balancing abstraction and figuration, Black’s paintings suggest narratives and familiar forms, yet resist easy translation, thereby remaining powerfully enigmatic. His oil and wax paintings embody the skilful exploration of surface and mark-making. Rich in texture and colour, works such as Not Nothing, Night Vision, and Trepidation are dynamic and deeply layered. The artist uses an abundant colour palette of mustard yellow, bright white, warm red, and black. Black’s intuitive practice involves spontaneous drawing and an expressionistic handling of the paint, where surfaces are simultaneously built, obscured and revealed.

KEISUKE OKADA

Keisuke Okada creates beautiful worlds, where animals and buildings appear to be interwoven with the fluid lines and abstract forms of vividly painted landscapes. In works such as Change, Fish Like to Travel, and In the Forest, Okada presents vibrantly coloured and intricately patterned abstract vistas that are joy-filled and otherworldly. His inimitable practice involves using oil paints that the artist then combines with natural materials such as stone, iron, and copper. This unique alchemy results in beautiful, spontaneous and surprising effects. Okada explains, “…colours change and erode over time. It feels as if the old creatures such as animals and micro-organisms fossilised in the materials are coming back to life, and the painting appears to be alive.

Reflecting the Self: The Enduring Power of Self-Portraiture

Theartist Frida Kahlo once said, “I paint self-portraits because I am so often alone because I am the person I know best.” A self-portrait documents how an artist makes sense of themselves. It is a record of how they choose to represent themselves to the world. To look at a self-portrait is to look into the mind of an artist, it offers us clues about their personality, emotions, history, and desires. As an artistic genre, it can be traced back to the ancient world and continues to prevail in the work of contemporary artists today. One of the earliest surviving examples of self-portraiture dates back to Ancient Egypt and a stone carving made by Pharoah Akhenaten’s chief sculptor Bak and his wife Taheri, dated around 1365 BC. Artio explores some of the key elements that contribute to the enduring power of self-portraiture.

A self-portrait can document an artist’s place in history. The 18th Century Neoclassical painter Angelica Kauffman painted self-portraits throughout her career. Kauffman utilized allegory in her paintings to claim her position as a female artist in a traditionally male-dominated world. In 1753 when she was only twelve years old, she painted a Self-portrait as a Singer with Sheet Music. She is looking steadfastly at

the viewer while holding sheet music, a symbol of her musical prowess and her identity as a woman in the arts. Kauffman was known for painting scenes from ancient history, re-casting the male protagonists as women. In her self-portrait from c. 1770 - 1775, she holds a ‘porte-crayon,’ an instrument for holding a crayon, and wears a neutral classical garment. Both symbolize her position within a lineage of artists and place focus on her identity as an artist above all else.

Self-portraiture can depict the psychology of an artist. Van Gogh created over 35 self-portraits before he died in 1890. The artist started to paint himself because he was too poor to be able to afford to hire models. This was the easiest way to practice painting. He described himself in one of his paintings as “quite unkempt and sad something like, say, the face of – death.” In his pursuit of painting the reality of his situation, his self-portraits chart his illness and mental decline. Now famous works such as Selfportrait with Bandaged Ear, 1889 evidence the artist’s emotional turmoil. Van Gogh saw painting as a means to heal himself. The way in which he applied paint and utilized color gives expression to the psychology of the artist.

Self-portraiture can create a mythology around an artist. Andy Warhol produced a huge number of self-portraits from polaroids to silkscreen prints. In many ways, the artist predicted the ‘selfie’ with his vast number of photographic self-portraits that saw him trying on different identities by donning various wigs and make-up, while still wearing his signature deadpan expression. Warhol’s Self Portrait, 1986 is a monumental silkscreen that depicts the artist in his signature ‘fright wig,’ his mask-like face, floating in black space. Warhol was fascinated by fame and the power of the image. This vast self-portrait immortalizes Warhol as the king of Pop. The artist’s face is writ large, transformed into an icon that is now as famous as the celebrities he idolized.

Self-portraiture can be a powerful act of self-determinism. In ‘Självporträtt, Åkersberga’ [Self-portrait, Akersberga]) Everlyn Nicodemus painted a self-portrait comprised of multiple heads facing in different directions. The powerfully combines abstraction and figuration. Nicodemus is celebrated for her work which explores the human condition, most specifically in terms of racism, cultural trauma and the marginalization of women. For the artist, art is a compelling expression of healing. In her self-portrait, she represents the many aspects of herself. She created this painting after a decade of living in Sweden and the discrimination she faced as an African woman. After years of experiencing racism and being defined by others, she reclaims the power and freedom to define herself. This piece was the first he first painted self-portrait by a Black female artist to be acquired by London’s National Portrait Gallery.

Self-portraiture is an endlessly fascinating genre of artistic creativity. Uniquely, it allows us to explore personal and universal human experiences simultaneously. It offers a glimpse into an artist’s mind; into how they see themselves and how they wish the world to see them. ■

Self-Portrait with Thorn Necklace and Hummingbird, Frida Kahlo

Self-Portrait with Bandaged Ear and Pipe, 1889 by Vincent van Gogh

SETSUKO CHIBA

Mixed media artist Setsuko Chib creates surreal, fantastical, allegorical imagery to explore our connection to the cosmos. Her intricately detailed images depict an interconnectivity between humanity and the natural world. In bold vividly coloured portraits such as The Sun in the Water and The Three of Me, and Infinity of Memory, Chiba depicts the female form in harmony with symbols of the ocean and sky, such as shells, coral and stars. Her lyrical works are striking, yet serene. The artist crafts mystical worlds with narrative power. Chiba describes her latest series Planetary Inner Self, “It is a story of healing and revival that begins the moment we truly merge with the beauty of the great planet and the fertile cultural heritage of humanity.” The sun in the water and the three of me / Photography, Mixed media / 30 X 30 cm

LILIA LARCOS

L’artiste Labrador / Acrylic on linen canvas / 60 X 50 cm

Lilia Larcos’ work is instantly recognizable for its playful creativity and character-driven narratives. Using acrylic on canvas, the artist creates unique animal portraits replete with personality and depth. Blurring the boundaries between the animal and human world, Larcos paints a cast of bold, expressive and imaginative characters.

Her paintings are rich in fine detail, delicate brushwork and jewel-like colours. In pieces such as L’artiste Labrador and The Gorilla Sip, Larcos transforms the everyday into something new and unexpected. The artist explains, “Whether it is a stately pig in velvet, a Labrador with an artist’s flair or a tropical scene brought to life, my paintings celebrate character, curiosity, and the joy of looking twice.”

The Gorilla sip / Acrylic on linen canvas / 61 X 61 cm

“The Duck-brick Hybrid“ / Oil, Acryl,Ink, Pastel, Pencil, Lego Bricks, Resin -on canvas / 100 × 70 X 6cm

RAFFAELLO DJORDJEVIC

Raffaello Djordjevic believes in the transformative power of art. He makes work to inspire and promote joy. The artist explains, “Art is the silent language of the soul, turning pain into beauty and guiding us toward healing.” Djordjevic is motivated by emotions, statements and stories. His unique aesthetic is characterised by dynamic surfaces, three-dimensionality, energetic mark-making and vibrant colours. Works such as BrickArtSeries202IV - Two Faces, one Identity and BRICKARTSERIES202V - The Duck-brick Hybrid contain references to graffiti, street art, cartoons, abstract expressionism, pop art and mosaic, resulting in sculptural images vibrating with colour and energy. Djordjevic states, “Each artwork offers new possibilities, and I look forward to the journey ahead. I let my art speak for itself.” BRICKARTSERIE202IV “Two Faces, one Identity“ / oil, acryl, ink, pastel, pencil, lego bricks, resin -on canvas / 97 X 125 X 6,5 cm

100 X 80 X 5 cm

oil, ink, acryl, pastel, pencil, lego bricks, -resin on canvas

MEAM

ARTIO GALLERY

at the European Museum of Modern Art in Barcelona, Spain.

Septmber 19-21, 2025

Opening reception: September 18, at 6pm.