Artist Portfolio Magazine Issue 4

Page 1


PORTFOLIO magazine

issue 4


PORTF contents

Angela China's painting "Stuck on the Yellow Brick Road" was choosen as the art work for the cover of Issue 4.

page 4 cover iv art contest

page 18 landscapes

page 32 carl baratta interview

page 40 fantasy

Angela currently paints from her Manhattan art studio in SoHo and gets her inspiration from the vibrant streets of Manhattan. To see more of Angela China's art please visit her website: http://

CopyrightŠ2011 All contents and images cannot be reproduced without written permission from artists. Artists in Artist Portfolio Magazine and retain rights to all images.



FOLIO magazine

Artist Portfolio Magazine is a free digital online magazine that contains the art of both emerging and established artists from around the world. The artwork featured in Artist Portfolio Magazine come directly from the winners of various themed and juried international art contests held at Each winner was chosen not by their status in the art world, but by the merit of their work. Artist Portfolio Magazine was created by artists for artists as a platform to get your art seen. We would like to thank every artist who participated in the various themed art contests over on because without the support from these artists Artist Portfolio Magazine would not exist. We hope you enjoy Issue 4 of Artist Portfolio Magazine! Enter Now at


cover art

angela china

"Stuck on the Yellowbrick Road" Oil 54" x 24"

New York, NY

joe hengst Avon Lake, OH

"No Sleep" Acrylic Paint 11" x 21"

alexandra edmonds Hope, BC, Canada "Robekkah 1", Oil on Canvas, 20" x 18"


Joanna Smielowska "What Happend Behind the Red Door ?"

David Bender "Nicole"

Vanessa Sica "Ophelia"

Adam Mazur "Bust of a Gifted Boy"

Rujunko Pugh "Stulta Credulitas (Silly Faith)"


Matthew Gauger - "Osaka Majesty"

Daniel Cook - "BB Gun"

Chris Weiermiller "Forest Rock"

Ambrea Dean - "Venice Beach, CA"

Esmeralda Kosmatopoulos - "Untitled"

Udi Peled - "Blues Night" http//

Micah Linton - "Lintonian http://micah

Yael Maimon "Neighborhood Watch"

Yakime Brown - "Breach"

n Mechanical Arthropod"

Kristin Gregg "Epidemiology"

Adam Thomas "Homeland"

Jenny Meyer "Gideon"

Gene Jimenez "Masai"

Michelle Ferrera "Untitled"

If I Stay Still I'll Be Okay 2009 Mixed Media 11x14

Animal Crackers - 2011 - Charcoal/Watercolor

Barbara Simonson



david bender Brooklyn, NY

"Upstate"- Oil on Panel - 32" x 14"


allan chow Prairie Village, KS

On One to Santa Cruz Oil on Canvas 16" x 20"


Just Another Day in Sunny L.A., Acrylic, Tempra & Pencil on Paper 18.5" x 27"


Mele Fox - "Come and Gone" Dawn Hunter - "Blue Light"

Tom McKeon - "High Grasslands"


David Lewis - "The Fox"

Dennis Revitzky - "Pompeii Landscape X"

Jon Lorenz - "Healy Pass"

Walter Mosley - "Gilsey House" Fred Fisher - "Late Spring Snow" 24

Sandra Hildreth - "After the Storm" Walt Curlee - "Autumn Wheat Harvest"

Raymond Perez - "Snowed In, 2011"

Clay Wainscott "Wet Country Road"

Terry Lopez "Sunset Time at the Maui Links"


Lee Munsell - "Reaching for You"

Marek Kiedrowski - "Moravia"


Daniel Hall - "That Ain't No Place for Me, Bossman Let Me Be" Neale Dyster - "Wild West Coast"

Mak Kramer - "Flamingo Sunset"

Kelley Richardson "Virgin Goddess"

Jessica Fife "Wave"

alessandra k cellini

Untitled #13 (Humbly, a Silent Blue Utterance Silver Gelatin Print from Tri-X Film, with Gel Medium, Paint and Ink 10" x 8"

Tres Rosas (Three Roses) 36" x 48" Oil on Canvas 2011

Ingrid Reeve

Carl Baratta an interview with

by Ingrid Reeve

APM: First of all, thank you so much for judging the 2011 Fantasy Contest. There were lots of great pieces to choose from and a wonderful range of artist interpretations on the theme. What does the theme “fantasy� mean to you?

Carl: 'Fantasy' as a category of art making is a tough one to nail down in visual work because there's a preponderance of fantasy based pop culture creeping around us all day. Take fantasy literature for instance. There are rows and rows of books of sword swinging, genre hopping, drug induced stories out there in the world. As a reader most yarns are spun in a preestablished linear order. Westerners read left to right starting at the top of the page and end at the bottom. But 2 and 3D work doesn't have to be that way because you can show everything simultaneously. Yes we can do a visual archaeological dig back to the raw canvas or whatever the support is and yes, that is an order for sure. But to me, really good painting lets you unravel the construction of the work and at the same time, lets you view it all at once. That's medium specific because no other medium can do that like fine art can. Illustration functions best as a descriptor and generally a 'style' is employed regardless of the subject matter. This works great in some forums, like magazines for instance. The illustration is describing a text or a pre-established product. The idea is already there and the illustration's job is to explain it to you. In other words, the narrative or governing structure for organizing the form is already there. Fantasy book cover art is another great example. I am definitely guilty of picking up a book because of the cover. I want to know what's inside and how it correlates to the wacky weird image that stood out amongst all the other heaps and hills of books. That's not how it works for 2 and 3D art. If the artist is not careful, 'fantasy' as a forum for can get reduced in importance because the physical material being used isn't helping explain what the viewer is seeing. So in the end you have half a painting and not enough information for the viewer to get involved in. Unless you are making work from a pre-established mythology, there is no accompanying text to hang your subject matter on. You open a book cover and behind it is a story. If you look behind a painting there's a wall. Or best case scenario, behind the painting is a hidden safe full of long lost Spanish Doubloons! Seriously though, when all's said and done, there is just the piece the artist has made and hopefully a viewer.

"The Alphabet Found in Stones 3"

"The Curling Fingers of Tomorrows Flowers 6"

APM: I like the idea of a painting “unraveling” all at once, as opposed to in a predetermined sequence. What are some of the medium specific qualities that allow for this to happen?

Carl: A viewer can see the whole piece at once in its entirety by finding the edges and working inward. As you work back layers it can then draw you in through its details, ideas and quirks of the piece To have something unravel all at once there are some key ingredients to picture making that needs to work together. For the ‘Fantasy’ category I looked at three broad aspects of each work to judge the work.. First I looked to see if the materials were appropriate for the subject matter. The artist transforms their materials to visually feel like the objects. Slick green acrylic paint looks wiggly, early morning light makes casted shadows deeply foreboding, and misbehaving waterfalls stand stiffly. Another criteria I looked for is shifting spacial construction. If things behave strangely then it points to a place in which we are not accustomed to. What I mean is spaces that optically shift and make the viewer reconsider the reality of what they are actually looking at. Again this is hinged on the subject matter and what the artist is trying to convey. If a figure is set in a space that is alluding to movement or a feeling of tension, does it reflect that narratively through shifting planes and jolting color? Is the lighting unearthly or ‘other’? 33

APM: Your work is definitely exemplary of the theme. Can you share some thoughts on your current work? Carl: I look at mythological paintings as inspiration. I don’t look at what is being told so much as the how it is being told. The space in mythological painting is where the characters perform acts larger than themselves, and the meaning of those acts extend beyond the concrete imagery being painted. Things shift and meanings wander. It’s a forum in which stories can be told and open narratives can stretch their legs and run around. Recently, I’ve moved away from directly leaving bread crumbs back to the source of my imagery and have come up with a much more Frankensteined (not a real word) way of working where you may not be able to see what and where the source material is from. I’ve also been doing collaborative woodblock prints with two other artists, Isak Applin and Oli Watt, for the past two years. Both the collaborative experience and the process of carving wood have really opened up how I allow myself to draw. APM: You’ve had some stellar exhibitions this year, including “A Sense of Place” at the Venice Biennial. Do you view this is as a landmark in your career as an artist? Carl: It is a great opportunity to work with The Italian Cultural Center in Chicago, the curator of the Chicago leg of the show, Kate Zeller, and be a part of this year’s Venice Biennale. I’m happy with the experience and hope that the show will open up more showing possibilities in the future. I’ve had some really great shows this year, including a traveling show of six artists that has been from coast to coast. A great thing that has happened with these opportunities is that the work has been able to reach a larger and broader audience, and for that, I am truly grateful.

"And the Hill Bowed Dumbly"

APM: Anything in the works we can look forward to? Carl: There are a bunch of things up in the air right now show-wise but for sure, you can see my work in the upcoming exhibition "Afterimage" at DePaul University Art Museum, curated by Dahlia Tulet and Thea Liberty Nichols. The show will be up from September to November, 2012. APM: Where can our viewers view your work now and/or in the near future? Carl: There are a bunch of exciting things coming up over the next year so if you’re interested please visit for new work and upcoming shows.

"Driver, Take Me to the River 3" APM: Do you have any words of wisdom for artists on getting their work viewed by a larger audience and/or a target audience? Carl: It’s not a set thing how all this works and like everything else, it’s an ongoing process. I really find having a web presence helps with out of town gigs, but really going to all the openings that you can and meeting other artists and art related folks strategically gives your name a face when people are putting together shows. But on a less business side of things, being out there and meeting people in your community helps break you out of your day to day routine and gives a sense of being part of something bigger and important. It’s a great way of meeting interesting people and having interesting conversations about ideas. It also really helps to inform you on what people are out seeing these days. There are times when I feel that I’m on top of my game and times where I don’t so much. And when I feel low I try to remember why I came to this practice in the first place. For me it’s about working through ideas visually. There is no other forum in which I can think and process information like I can through painting. I find knowing why I’m in all this in the first place helps me stick through the tough times and keep working. If you keep working at your craft and keep trying to expand on how you see the world, shows will come. 35

Waiting (2009) - 20" x 24" - A

photography by

John Martin

Analog Negative/Digital Print


Allegory of Painting (2007) - 20" x 24" Analog Negative/Digiral Print

Interlude (2009) - 20" x 22" Analog Negative/Digital Print

Bio/Artist Statement: Believing that photography is a means to transform the world, not reproduce it, I aim to make black-&white, street-style images that function as works of fiction--that suggest and entertain, rather than document or confirm. People, places, and incidents depicted in these works are used figuratively through juxtaposition, association, symbol, and metaphor. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental. My images have been displayed at a number of venues, including the Museum of Fine Arts--Boston, the Khaki Gallery, and the Massachusetts State House, and have appeared in such diverse publications as The Advocate, Photographer's Forum, The Boston Globe, and New Orleans Review. More of my photographs can be found at: Threshold (2009) - 20" x 20" Analog Negative/Digital Print

fant william francis brennan Berlin, Germany

"Synthetic Wood" Acrylic on Canvas 40cm x 40cm


tasy julia howell Summerville, SC

"Shatter" Acrylic and House Paint 20" x 16"


dayna wood Brooklyn, NY

"Fantasy 2" Photography 4000kb


Vanessa Sica - "Create Me"

Tomasz Klymiuk - "The Tree of Life" http://WWW.EVILTOADSTUDIOS.COM

AndrEEa Racolta - "SheHorse" 43

Lorie McCown - "Faith"

Kyle Riege - "Theodore"

Tim Bartosh - "Visions"

Sabine Blodorn - "The Last Emperor" 44

Gisselle Saenz "Flying for Freedom"

Erin Dinan - "Encapsulated Dreams"

Marc Dubief - "Fall of Alphabet City"

Audrey McNamara "The Ladies Are Waiting"

Jordan Brooks - "Living Dead Girl"

Cheri Bohn - "Phoenix Pyre"

David Whittaker - "Turtle"

Monika Jensen - "Dinner for 6"

Ed Ciolina - "Bound to Stake" 48

Miri Park - "G-Bunny: Slayer of Dragons"


Jenny Meyer "Hang Tight"


sara richard New Boston, NH

"Lorelei" Acrylic on Paper 11" x 17"

richard a. moore, III Portland, OR

"Octohandy" Bronze 12" Tall x 24" Wide x 26" Deep


"Man vs. Machine" - Oil on Panel - 16" x 20"

daniel cvammen 53

Simpsonville, SC

"The Southwark Witch" - Acrylic on Canvas - 61 x 46 cm

deivis slavinskas Maidenhead, UK


joanna smielowska Czestochowa, Poland "Garden of Wishes" - Graphite - 57 x 50 cm

ian kirkpatrick Beaumont, CA "Armor of God" - Oil on Wood - 20" x 32"

"La pietra miliare (The milestone)" - Oil on Canvas - 70 x 50 cm

giovanni greco 57

Catania, Italy

ione citrin Los Angeles, CA "Tree Sa" - Mixed Media Assemblage Sculpture - 49.5" h x 24"w x 14.5"d

ben walker

Danielle Valli

Grasshopper Photography

from our Portraits III Art Contest Stacey Turcotte "Through the Window" Oil on Canvas 5.5" x 12"|