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JANUARY 2013 US $  11,59  -­  €  8.00



YAYOI KUSAMA Between A Dot And An Art Place






Cover Story:

Colombia's Great Master Painter & Sculptor

Art on  the  cover:  “Pedro”  1974  Oil  on  Canvas,  194.5  x  150.5  cm.  by  Fernando  Botero.     Permanent  collection  of  the  Museum  of  Antioquia  in  Colombia.  -­  Photography  Museo  de  Antioquia  ©  Copyrights,  All  rights  reserved.



Happy Anniversary Arttour International! What a year it has been! We have completed our anniversary edition and we are ecstatic with the readership and the feedback we have received. Thank you for being so patient while we have been making changes and improving from feedback. I want to take this time to thank all of our contributors. Arttour International Magazine would be nothing without each and every one of you, and we appreciate you more than you can imagine. You are the true masterminds behind this publication; making it possible for us to deliver a quality product each time. I also want to thank our advertisers, artists, models, web developers, publicists, social media managers, writers, editors, researchers, video production team and professional photographers. Thank you for believing in us our first year, the 507 readers in two countries from our first issue December 2011 have multiplied to 27,762 readers in 56 countries as of November 2012 . . . and counting, and we owe it all to you!. Readers, please support our artists and help contemporary art flourish. At Arttour International Magazine, we want to create the magazine you want to read, so please, send us your feedback, story ideas, etc. If you are interested in becoming a contributing writer send us an email to We look forward to continue with this multicultural celebration of art for many years to come! All the best,

Viviana Puello President & Founder Arttour International Magazine

January 2013


January 2013


CONTRIBUTORS PRESIDENT/ART DIRECTOR: Viviana Puello Founder of Vivid Arts Network, Artist, Writer and Art Activist. Vivid Arts Network is an art organization that reunites artists from around the world to help create an awareness and conversation on the issues that surround important social topics focusing on the healing of human traffic victims. MANAGING EDITOR

Cody LaVada - New York - USA Cody is a performance artist, writer & designer who lives in Upstate New York. Inspired by the dark side of life, Cody’s unique creations are often a macabre amalgam of fashion, passion & theatricality, interwoven with intensely-personal experiences, such as body modification & mental illness. Cody is thrilled to be working with ArtTour International & spreading awareness of both the ingenious artistry & the social conflicts that the company fights to erase.


Haydn Diaz - New York - USA Haydn Díaz received his B.A in English Literature and Minor in Theatre from the Honors College at Florida International University in Miami, Florida. He is currently based out of New York City where he works as a playwright, director, poet, writer, theatre artist and musician. His works have been presented in regional and national festivals as well as in Miami and New York City theaters. He is currently Literary Associate at IATI Theater and is a member of the Dramatists Guild of America.

Nicholas Hess - Pennsylvania - USA Nicholas Hess is a graduate of the University of Pittsburgh in Pennsylvania, where he received his B.A. in English writing and communications, as well as minors in Italian and theatre arts. A native of Oil City, Pennsylvania, he has a penchant for travel and finds inspiration in each new place he is fortunate to discover. A lover of eras gone by, Nicholas specializes in sharing the facts with a strong story as his backdrop.

Yadi Roman - New York - USA

Front Cover: Botero, Fernando “Pedro” 1974, Oil on canvas 194,5 x 150,5 cm. Permanent collection of the Museum of Antioquia in Colombia. Photography Museo de Antioquia © Copyrights, All rights reserved. Back Cover: Artwork by: Malena Peon Graphic Design: Ana Cristina Gutierrez ALAN GRIMANDI Video Production & Direction VIVIANA PUELLO Art Direction

ARTTOUR INTERNATIONAL PUBLICATIONS INC. Distribution & Marketing HUMBERTO J. OROZCO Web Developer & Publicist GRIMARTE GALLERY Graphic Design & Photography

Yadi Roman is a film maker and writer of highly personal films. While many of her works reflect on her experiences with psychological disorders, her current research interests include theory of reincarnation, of spiritual journey and issues related to time and space in cinema.

Special thanks for our cover story to: Juan David Aguilar Botero - Medellín - Colombia Juan David Aguilar Botero received a BS in Industrial Management at the Georgia Institute of Technology in Atlanta. He has more than thirty years of experience in the graphic arts and publishing industry. Art collector, art activist and entrepreneur. A Professional Photographer, museologist and curator from the Universidad de Antioquia in Colombia. Currently, Juan David works as editor and publisher and in the reproduction of fine art works for museums, galleries and artists. Member of the Colombian American Chamber of Commerce.

Published by Arttour International Publications Inc. 601 W. 174th Street S 4C New York, NY 10033 © Copyright 2012 Arttour International Magazine. All copyrights are reserved by the authors. The copyrights of all published artwork are retained by the artists. Reproduction of any published material without the written permission of the magazine's publisher is prohibited by law.

January 2013


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%&''()& INTERNATIONAL %**+,-&.%&/+..)-



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Frans  Frengen  




by  Liesel  Beukes (South  Africa  Artist  living  in  Munich)

TILLYKKE  MED  JUBILÆET! De  bedste  ønsker  for  fremtiden  til Arttour  Kunstmagasin  fra  Jeannie  Bolund.                          

  INTERNATIONAL  !         


  " #$ %&'(

By  Cody  LaVada-  New  York.

With  a  career  that  has  spanned  nearly  six   decades  and  continues  to  stretch  onward  into  the   future  -  and  which  has  certainly  inspired  some  of  the  most   well-known  artists  of  our  time  -  the  Japanese  artist  ,  Yayoi  Kusama   has  been  referenced  multi ple  times  as  ,quite  possibly  ,the  most  influential   living  female  artist  ever.  In  a  arena  typically  dominated  by  men  such  as  Van   Gogh  ,  Warhol  ,  Picasso  and  the  like  ,  Kusama  stands  out  as  an  epic  keystone  –   the  very  foundations  atop  which  so  many  modern  artists  built  their  creations.  Her   successes  spread  across  many  fields  ,  including  film  ,  performance  art  ,  literature  ,  fashion  ,   sculpture  and  installations.  With  such  a  burgeoning  repertoire  ,  she  holds  many  accolades   and  accomplishments  that  also  help  her  to  stand  out  as  a  giant  among  artists. Born  on  March  22  ,  1929  in  Matsumoto  ,  Nagano  ,  Japan  ,  Kusama  was  the  fourth  child  in  a   wealthy  merchant  family  that  made  its  living  selling  seedling  nurseries.  Her  childhood  was  rife   with  complications  ,  including  physical  abuse  at  the  hands  of  her  mother  ,  witnessing  the   infidelities  of  her  father  ,  and  severe  mental  health  complications  ,  such  as  visual  and  aural   hallucinations  ,  severe  obsessive  and  suicidal  thoughts  ,  and  fixations  that  Freud  would  have  a   field  day  with.   In  1948  ,  Kusama  took  up  senior  classes  at  Kyoto  Munici pal  School  of  Arts  &  Crafts  to   hone  her  life-long  love  of  art  and  creating  ,  which  she  claims  helped  her  to  erase  the   misery  of  her  early  years  by  transporting  her  to  a  happier  place.  Despite  having   graduated  the  following  year  ,  she  explains  that  she  felt  great  disdain  toward  the   rigid  structure  of  the  Nihonga  style  of  painting  that  she  was  taught.  The   “master-disci ple�  tradition  by  which  students  develop  their  talents  through   close  work  with  the  sensei  was  not  for  her  ,  and  she  sought  to  expose   the  world  to  her  originality.  When  asked  about  her  time  in   Kyoto  ,  she  claims  that  she  feels  like  vomiting. Cont.  Next  Page.



Over  time  ,  Kusama  taught  herself   the  arts  of  cubism  ,  abstraction  and   surrealism  ,  incorporating  her  own   unique  spins  on  the  classic  styles  ,   implementing  the  obscuring  polka   dots  that  had  been  an  integral  part  of   her  artistic  works  since  her  childhood   years.  The  oldest  example  of  this  motif  of   Kusama's  is  a  drawing  from  when  the  artist   was  ten  which  depicts  a  Japanese  woman  ,   presumed  to  be  her  own  mother  ,  nearly   obliterated  by  the  enormous  polka  dots.  Even   all  of  these  years  ,  this  particular  style  still  finds   its  way  into  her  pieces  ,  and  has  since  become   her  trademark. Capitalizing  on  both  her  love  of  art  and  her   ability  to  churn  out  fascinating  pieces  with   surprising  speed  ,  Kusama  began  exhibiting  her   works  in  Japan  and  receiving  critical  acclaim   and  interest  from  the  public.  However  ,  her   wanderlust  drew  her  to  the  teeming  metropolis   of  New  York  City;  with  its  bohemian  ideals   and  artistic  freedom  ,  it  seemed  to  be  an   antithesis  to  her  strict  native  Japan.  Following  a   long  correspondence  with  Georgia  O'Keeffe  ,   which  Kusama  had  initiated  after  buying  and   being  inspired  by  a  book  of  O'Keeffe's  artwork  ,   Kusama  set  out  for  the  Big  Apple  to  continue   her  career  ,where  she  would  spend  over  15   years.  At  the  age  of  27  ,  in  1958  ,  she  began  her   American  endeavors.

Photo  by  Š  iStockphoto  LP  2010.  All  rights  reserved.

Due  to  severe  political  stringency  ,  Japanese   travelers  had  many  restrictions  ,  including  the  amount  of  currency   they  were  allowed  to  bring  out  of  the  country  ,  to  dissuade  them  from   leaving.  Always  the  ingenious  opportunist  ,  Kusama  sewed  bills  into   the  lining  of  her  clothes  and  conquered  the  city  ,  convincing  a  small   gallery  to  stage  an  exhibition  of  her  work.  However  ,  she  soon  fell  on   hard  times:  her  meager  apartment  was  unheated  ,  and  she  describes   winters  as  being  brutal  –  “a  living  hell,�  though  she  stayed  up  all   night  sometimes  ,  painting  to  keep  warm  and  to  exorcise  the  demons   of  her  mind  and  expel  the  creative  fervor  raging  inside. Kusama  explains  that  she  has  no  individual  favorite  piece  of  her  own   work  –  that  ,  once  created  ,  it  automatically  becomes  a  favorite  and   that  she  loves  them  all.  Her  inspiration  often  comes  from  her  vivid   hallucinations  and  visions  ,  which  flood  her  mind  on  a  daily  basis  and   drown  out  all  other  sensations  until  she  is  swamped  within  the   atmosphere  of  creative  passion.  The  results  of  these  visions  are  her   strikingly  singular  works  ,  with  their  lurid  colors  and  bold  patterns  ,   reminiscent  of  aboriginal  art  with  their  swirls  and  dots  and  delicate   strings  of  web-like  netting. By  1961  ,  she  was  being  regarded  as  an  innovator  in  the  avantgarde  movement  ,  and  she  was  living  in  the  same  building  as   such  notables  as  Donald  Judd  and  Eva  Hesse.  Though   frequently  hospitalized  for  exhaustion  and  fatigue  brought   on  by  overwork  ,  Kusama  continued  to  delve  into  her  art  ,   inspired  by  the  wild  tempest  of  artists  constantly  milling   around  here  ,  such  as  Warhol  ,  Jackson  Pollock  ,  Roy   Lichenstein  and  Willem  de  Kooning.  By  1966  ,  she  was   creating  enormous  free-standing  that  filled  entire  rooms Cont.  Next  Page.  

Photography  by  Bopuc  Š  CC  License.   Works  by  Yayoi  Kusama  during  the  Kusamatrix   Exhibition  ,Tokyo  2005.
 January 2013 10


Photography  Yayoi  Kusama  -  Love  Forever  -  MOMA  Poster  -  1999     Detail  by  Marshall  Astor  -  Food  Fetishist  Š  CC  License.

Photography  Yayoi  Kusama   by  Paul  Lowry  Š  CC  License.

and  were  dazzling  with  their  mirrors  ,  flashing  lights  and  enchanting  music   –  the  best  example  of  which  is  her  “Narcissus  Garden.�  And  yet  ,  despite   such  compelling  artistry  ,  Kusama  was  suffering  both  financially  and   psychologically  ,  and  O'Keeffe  convinced  her  own  dealer  ,  Edith  Herbert  ,   to  purchase  some  of  Kusama's  works  ,  to  keep  the  ailing  artist  from  falling   deeper  into  debt  than  she  was.

!"#$%"""# &'( ))*#+*, Red  and  white  polka  dot  sculptures  and  paintings   by  Yayoi  Kusama  at  the  Hayward  Gallery  in   London.

As  with  all  great  artists  who  leave  behind  a  legacy  ,  Kusama  was   consistently  pushing  boundaries  and  challenging  the  system  that  many   others  allowed  to  dictate  their  lives  and  careers.  She  would  wear   outlandish  wigs  and  flashy  kimonos  –  though  she  affirms  that  her   nationality  did  not  change  her.  “America  is  really  the  country  that  raised   me  ,  and  I  owe  what  I  have  become  to  her,�  Kusama  has  written.  She   became  invested  in  America  –  its  struggles  ,  its  people  ,  and  the  struggles   of  its  people.  When  the  Vietnam  War  broke  out  ,  she  often  staged   enormous  gatherings  in  conspicuous  locations  like  Central  Park  and  the   Brooklyn  Bridge  ,  involving  nudity  ,  performance  art  and  body  painting   with  her  trademark  dots  ,  to  protest  the  savage  war.  Kusama    would  find   volunteers  to  stri p  ,  paint  their  bodies  with  dots  and  dance  to  rhythmic   music  in  honor  of  peace  ,  as  though  she  were  a  witch  conjuring  a  spell  for   world  tranquility.  Kusama's  “happenings�  began  to  be  called  her  “orgies�   by  the  public  (which  inspired  her  short-lived  magazine  ,“Kusama  Orgy.�)   Her  lust  for  fame  seemed  to  know  no  bounds:  she  infamously  wrote  a   letter  to  Richard  Nixon  ,  offering  to  have  enthusiastic  sex  with  him  if  he   would  put  an  end  to  the  war  –  a  request  Nixon  turned  down.   Also  in  1966  ,  Kusama  went  without  invitation  to  the  Venice  Biennale   where  ,  dressed  in  a  dazzling  gold  kimono  ,  she  encompassed  the  lawn   outside  of  the  Italian  rotunda  with  1,500  mirror  balls  ,  which  she  sold  for   1,200  lire  ($2)  a  piece.  Much  like  her  protests  ,  the  police  ordered  her   kiosk  shut  down  ,  deeming  it  vulgar  to  “sell  art  like  hot  dogs.�  Similar   to  her  revolutionary  creations  ,  her  “Infinity  Nets�  series  (which   became  even  more  so  a  defining  creation  than  her  dots  –  delicate  , web  and  lace-like  paintings  that  average  30ft  long)  ,  Kusama  did   not  make  a  hefty  profit  with  these  creations.  Her   “Infinity  Nets�  were  originally  sold  for  as  little   as  $200  a  piece  when  first  produced.  Half   a  decade  later  ,  a  single  “Net�  painting   was  sold  at  Christie's  in  NY  for  $5.1   million  –  a  record  sum  for  any  living   female  artist.  


Cont.  Next  Page.  



Photography  Kusama  Kluster  NGC-10101  by  adamgreenfield  Š  CC  License.

Indeed  ,  her  gender  seemed  to  be  a  constant  source  of  flux   for  the  metamorphosing  artist  in  a  world  dominated  by   men;  Kusama  had  it  even  more  difficult  in  the  fact  that  she   was  struggling  with  a  language  barrier  in  areas  affected  by   personal  prejudices  as  they  recovered  from  the  painful   effects  of  World  War  II.  Kusama  often  cites  sex  as  one  of   her  greatest  fixations  ,  which  is  apparent  in  her  “softsculptures�  she  began  in  the  60s.  These  sculptures  feature   commonplace  objects  covered  in  protruding  white  ,  phallic   objects  until  they  are  nearly  indiscernible.  She  attributes   the  idea  to  her  distaste  for  the  male  sex  organ  as  a  result  of   her  having  seen  several  of  her  father's  extra-marital  love   affairs  as  a  child  ,  which  made  her  loathe  to  think  of  or   engage  in  sexual  relationshi ps.  Even  her  decade-long   relationshi p  with  the  artist  ,  Joseph  Cornell  ,  is  alleged  to   have  been  purely  platonic  and  sexless  in  its  entirety.  This   obsession  is  assuaged  through  her  art:  much  like  her   overwhelming  dot  compositions  ,  Kusama  uses  the  phallic   sculptures  to  “obliterate  her  anxieties  through  repetition�  –   to  simply  engulf  her  art  in  that  which  she  despises  most   until  she  is  buried  in  the  creative  process  ,  making  a   positive  out  of  a  negative.  She  is  quoted  as  having   told  an  interviewer  that  she  does  not  wish  to   “cure�  her  mental  problems  ,  but  rather  use   them  as  a  source  of  fuel  for  her  creations.   Though  many  people  doubt  the  severity  and   veracity  of  Kusama's  mental  health  issues  , believing  them  to  simply  be  another  facet  of  her   personality  fabricated  by  her  artistic  soul  to   garner  media  attention  and  public  interest  ,  the  

results  of  these  manias  are  certainly   undeniable.  In  1973  ,broke  ,  depressed  and   suffering  from  a  harsh  media  outcry  , Kusama  returned  to  Japan  and  faced  a   humiliating  public  defeat.  She  knew  no   one  within  Japan  ,  and  her  avant-garde   style  belonged  to  no  specific  niche  of   Japanese  art.  With  mounting  mental  and   physical  health  ailments  ,  she  admitted  herself   to  the  Seiwa  Hospital  for  the  Mentally  Ill  and   took  up  permanent  residence  –  and  has  remained   there  ever  since.  During  the  1970s  and  80s  ,  her  name   seemed  to  drift  into  relative  obscurity  ,  though  the  shocking   and  visceral  poetry  and  fiction  that  she  penned  during  this   period  gained  her  a  powerful  cult  following  in  Japan.  She   takes  a  bus  daily  to  her  nearby  studio  to  create  ,  and  then   returns  to  the  hospital  in  the  evenings. It  was  not  until  the  late  80s  ,  when  retrospective  galleries   began  to  display  her  work  once  more  ,  that  international   interest  in  Yayoi  Kusama  was  rekindled.  She  became   active  once  more  ,  even  touring  around  the  US  with   performance  art  shows  ,  and  going  to  the  1993  Venice   Biennale  –  with  an  invitation  this  time  ,  where  she  filled  a   mirrored  room  with  pumpkin  and  gourd-like   sculptures.  Her  revival  gained  even  greater   momentum  in  1998  when  the  MOMA  in   NYC  staged  an  enormous  exhibit  of  her   works. Cont.  Next  Page.  



 Ironically  ,  she  had  been  forced   from  the  property  nearly  30   years  prior  with  her  anti-war   protest  ,  “Grand  Orgy  to  Awaken  the   Dead  at  MOMA.â€?  Her  career  had  come  in  a  full  circle   through  a  curious  twist  of  fate. She  now  works  alongside  many  notable  designers  ,  such   as  Marc  Jacobs  ,  Louis  Vitton  and  Bloomingdales  ,  the   latter  of  which  exclusively  features  a  “Kusama  Cornerâ€?   and  showcases  many  of  the  clothes  she  designs  for   Kusama  Fashion  Company  ,  Ltd.  She  has  designed  such   eccentric  and  limited  items  as  handbag-shaped   cellphones  ,  a  pink-dotted  phone  in  a  case  shaped   like  a  dog  ,  and  a  red  and  white  spotted  phone   in  a  mirrored  ,  dotted  case.  She  has  also   helped  design  ads  for  li p-glosses  for  LancĂ´me   in  her  quirky  ,  unconventional  style.   Kusama  has  helmed  a  career  that  has   spanned  well  over  half  a  century  and   continues  to  advance  onward  to  inspire  new  , blossoming  artists  the  world  over.  She  has  had   numerous  exhibitions  around  the  globe  ,  and  is   recognized  on  an  international  scale  ,  her  art  highly   coveted  and  fetching  immense  sums.  Her  most  recent   exhibition  at  the  Tate  Modern  in  London  ,  was  a  critical   success  and  featured  works  spanning  Kusama's  entire   career.  One  critic  likened  it  to  “being  suspended  in  a   beautiful  cosmos  gazing  at  infinite  worlds  ,  or  like  a  tiny   dot  of  fluorescent  plankton  in  an  ocean  of  glowing   microscopic  life.â€?  To  herald  and  publicize  this  exhibition  , one  million  city  buses  were  covered  with  her  iconic   pointillist  signature  style  ,  much  like  the  buses  in  her   hometown  of  Matsumoto.  

Photography  by  Shibainu  Š  CC  License.

As  she  ages  ,  Kusama  is  now  fixated  more  on  her  historic   legacy  and  fame  than  with  the  dots  of  her  younger  years  , though  such  motifs  certainly  still  play  an  integral  role  in   her  art.  She  says  that  her  main  interest  is  to  “stop  war  and   live  out  the  brilliance  of  life.�  Though  interviews  with  the   artist  are  rare  since  her  mental  health  vacillates  between   periods  of  profound  depression  and  reticence  ,  to  periods   of  gleeful  enthusiasm  ,  her  endeavors  and  future  projects   are  posted  for  the  public  on  her  official  website   (  Her  entourage  of   supporters  and  acolytes  meticulously  chronicle  her   exhibitions  ,  projects  and  upcoming  news  for  the   interested  aficionados  who  delight  in  the  work  of  this   trailblazer  for  the  bizarre.  Her  works  stand  out  as  amazing   pieces  of  singular  talent  ,  and  through  them  were  are   allowed  glimpses  into  the  polka-dotted  landscapes  of  the   obsessive  ,  deteriorating  mental  wonderland  of  Yayoi   Kasuma.


Belarmino Miranda “JUST LOVE AND ART”

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Original work and reproduction prints on canvas and cotton paper available. Limited editions. Phone: (574) 444 5017 Medellín - Colombia Shipments worldwide

Shuffling through Florence by Nicholas Hess Pennsylvania Photography by Nicholas Hess. Arttour International Magazine Š Copyright 2012 All Rights Reserved

Photography by Nicholas Hess. Arttour International Magazine © Copyright 2012 All Rights Reserved

“As the birthplace of the Italian Renaissance, Florence holds a special place in the timeline of history. With a distinction for creating some of the world’s most notable architects, authors, sculptors and painters, it is no wonder the city holds a bevy of surprises not readily found within the doors of an institution.” Shuffling through the over passed vicoli and hidden side streets of many Italian cities leads the innately curious to gems oft not found within the yellowed pages of some guide book. A simple gaze skyward can reveal intricately carved stone forms protruding from a villa’s façade — arms and fingers extended as if casually noting the

next great masterpiece just across la strada. An innocently outstretched palm can caress the weathered surface of a babbling fontana, resting upon its edge and, in essence, becoming a part of the greater work. Nowhere is this feeling of outdoor art more prevalent than in romantic, Florence, Italy. A Tuscan town literally bursting at the seams with architectural antiquities, this little big place hosts a myriad of treasures. You just have to look up every now and again to spot them. Museums, galleries and exhibition halls may all be valued locations to spy priceless works by revered masters. But it can sometimes be what is found outside the walls of these collected spaces that is just as awe-inspiring. As the birthplace of the Italian Renaissance, Florence holds a special place in the timeline of history. With a distinction for

creating some of the world’s most notable architects, authors, sculptors and painters, it is no wonder the city holds a bevy of surprises not readily found within the doors of an institution. A brief stroll down Via del Corso, Borgo San Lorenzo or Via dei Conti can all leave even the most basic of art connoisseurs seeing, and understanding, the amphitheater of alfresco design there is contained within Florence. Taking a walk to the city’s highest point, the church of San Miniato al Monte, can bring the avid tourist unparalleled experiences. Passing by palazzi and chiese respectively, there is a sense of wonderment and joy in discovering something so open and free to all those who pass by. Yet it’s as if the moment were merely shared by one as each new finding allows for individual reflection. And as weary legs climb alongside

January 2013


ARTTOUR INTERNATIONAL ANNIVERSARY ISSUE Photography by Nicholas Hess. Arttour International Magazine © Copyright 2012

“Colors of a burnt sunset blur the distant city into one perfect picture.That picture, the true-life version so many before have tried to capture in paint and sculpture, is both surreal and magnificent — its colors bleeding out to find no real end to their canvas.” century old works assimilated into Florence’s fabric of society — plus the occasional wooden crate advertising fresh cuts of lavender — darting eyes pick up on the city’s main elements of time and nature. Acting as Florence’s medium for creation, these two tools have transformed the already picturesque into altered forms that only serve to enhance what’s already in place. An oxidized bronze cast of the notorious David stands guard atop Piazzale Michelangelo, streaked in shades of green after years of the heaven’s falling tears. A closer look, though, can reveal what almost resembles the brushstrokes of an artist. As if a painting hung in some great gilded frame, the work sits in plain view for all those passing to

see. Yet after each fleeting year, the cast will continue its neverending transformation into something no one can ever tell. A beauty beheld by all, but looked at differently by each, it will persist in being art in the greatest of sense. A winding paved road leads away from the previous scene, with snapshots of Florence’s landscape peeking from behind patches of leafy foliage. Flowering wisteria clouds the view, as colors of a burnt sunset blur the distant city into one perfect picture. That picture, the true-life version so many before have tried to capture in paint and sculpture, is both surreal and magnificent — its colors bleeding out to find no real end to their canvas. A

pleasure to behold, the everyday creations that surround us, no matter what the city may be in, are truly a wonder worth turning an inquisitive head toward. Reaching the final resting spot of Cimitero delle Porte Sante, directly in front of the church of San Miniato, one feels small in the scope of it all. Taking in the elaborately carved cemetery markers, some reclining in the ease of passing hours and others in fits and folds of anguish, the true masterpieces of Florence become revealed. However, one figure in particular, a young woman clutching the ends of a long cape and embracing four small children, truly displays the Cont. Next page.

January 2013


ARTTOUR INTERNATIONAL ANNIVERSARY ISSUE Photography by Nicholas Hess. Arttour International Magazine © Copyright 2012 All Rights Reserved

emotion of these public pieces of art. Her face, marked with the hard, dark lines of time, takes on a new persona, standing tall as a testament to changing beauty. Not studied or kept hidden at the end of a long, dimly lit corridor, she’s left to fend for herself, all the while remaining a work worthy of any pair of eyes to steal a moment of her time. This then is the essence of open-air art, what any observer can take and skew into an uninformed loveliness. Missing the four corners of a place that may state what constitutes real genius, pieces left to their own devices become what they will. Relished by all who are fortunate to break stride and stare, they are appreciated and then merely left to dance in the wind.

Thanking our contributors, artists, editors and writers for a very successful 2012! Nicholas Hess Contributing Writer from Pennsylvania, USA Nicholas Hess is a graduate of the University of Pittsburgh in Pennsylvania, where he received his B.A. in English writing and communications, as well as minors in Italian and theatre arts. A native of Oil City, Pennsylvania, he has a penchant for travel and finds inspiration in each new place he is fortunate to discover. A lover of eras gone by, Nicholas specializes in sharing the facts with a strong story as his backdrop. He hopes to soon find work with a travel or arts oriented magazine when he finally decides to fly away home. Contact:

January 2013





ARTIST ARTIST PROFILE: PROFILE: Meet Satouchi Meet Masae Masae Satouchi Cover girl on the video presentation of Arttour International Magazine. Cover girl on the video presentation of Arttour International Magazine. By  ATIM  Art  Director  ,  Viviana  Puello. By  ATIM  Art  Director  ,Viviana  Puello.

Our  beautiful  model  has  flawless  skin  ,  a  slight  frame  ,  perfect  posture  ,  and  glossy   Our  hbair.   eautiful   model   as  any   flawless   skin   a  slight   rame    pYC’s   erfect   osture   ,  and  glossy   dark   A  woman   oh f  m talents   ,  M,  asae   is  ofne   of  ,N hpottest   performers   as   dark   haair.   A  woman   any   talents   ,  Masae   s  one   of  sNurprised   YC’s  hottest   performers   as   well   as    model   ,  stylist  o,  f  am nd   color   therapist.   Miany   are   to  learn   that  Masae   well  as  a  model  ,  stylist  ,  and  color  therapist.  Many  are  surprised  to  learn  that  Masae   is  the  NY  Artistic  Director  of  NPO  Japan  Color  Language  Color  Association   ,  a   is  the  NY  Artistic  Director  of  NPO  Japan  Color  Language  Color  Association   ,  a   non-profit   organization   that   uses   color   therapy   and   color   psychology   to   help   non-profit   organization   that   uses   color   therapy   and   color   psychology   to   help   people  find  joy  and  peace.  All  of  the  proceeds  from  the  organization  are  donated   people  find  joy  and  peace.  All  of  the  proceeds  from  the  organization  are  donated   for  the  Japan  relief  effort  to  help  the  victims  of  the  Tsunami.  Her  secret  to  success?   for  the   Japan   relief   effort  to  help  the  victims  of  the  Tsunami.  Her  secret  to  success?   Hard   work   and   dedication. Hard  work  and  dedication. Cont.  Next  page. Cont.  Next  page.

Castello  Estense  -  Ferrara   ,  Italy. Castello  Estense  -  Ferrara   ,  Italy. Photography:  ArtTour  International  Magazine  Š  Copyright  2012  All  Rights  Reserved. Photography:  ArtTour  International  Magazine  Š  Copyright  2012  All  Rights  Reserved.

 !  !


Castello  Estense  -  Ferrara  ,  Italy. Photography:  ArtTour  International  Magazine  Š  Copyright  2012  All  Rights  Reserved.

Masae  enjoying  the  images  captured  by  our  Video  Producer  Alan  Grimandi.  Castello  Estense  -  Ferrara  ,  Italy.



New  York  City  -  July  2012. Photography:  ArtTour  International  Magazine  Š  Copyright  2012  All  Rights  Reserved.

“Pearl  of  Japan� Co-Founder  ,director  and  choreographer   of  the  fire  dance  troupe  Luminisis  ,   Masae  Satouchi  performs  fire  and   Tribal  belly  dancing  and  burlesque  with   a  passion  for  creation  and  signature   style.  Her  venues  have  ranged  from  the   United  Nations  ,  theaters  and  film  and   clubs  to  festivals  such  as  Burning  Man   and  Amami  solar  ecli pse  Music  festival   in  Japan.  She  has  produced  and   directed  four  shows  unifying  diverse   styles  of  art  ,  fashion  and  dance  through   her  own  unique  vision  of  color  and   beauty.  Underlying  the  charisma  that   Masae  brings  to  every  performance  is  a   style  of  dance  in  which  her  body   movements  are  strictly  in  harmony  with   the  music.  An  evolving  and  dynamic   artist  ,  Masae’s  goal  is  to  bring  color  and   joy  to  the  World. Her  notions  of  beauty  incorporate  ideas   gained  in  her  experiences  in  color   therapy  ,  flower  arrangement  ,  modeling  ,   and  belly  dancing.  Watch  for  her  stellar   style  —  and  sparkling  smile  —  on  the   sidewalks  of  NYC  or  other  city  around   the  world. Cont.  Next  page.

   ! !"#$$#  %&'( 

Villa  de  Fasanara  -  Ferrara  ,  Italy. Photography:  ArtTour  International  Magazine  Š  Copyright  2012  All  Rights  Reserved.


Masae  ,  was  Arttour  International   Magazine's  first  cover  model.  For  our   anniversary's  video  presentation  ,  we   decided  to  come  back  to  Masae  and  have   an  update  on  the  development  of  her   fantastic  career.  Masae  represents  to  us  not   only  physical  beauty  but  above  all  ,  beauty   of  the  soul  and  the  mind.  Our  work  started   July  2012  in  the  streets  of  New  York  City   and  ended  October  2012  in  the  beautiful   Castello  Estense  in  Ferrara  ,  Italy.  Here  are   some  of  the  moments  captured  by  our   camera.  Enjoy!  To  see  our  video   presentation  featuring  Masae  Satouchi   please  visit:

Villa  de  Fasanara  -  Ferrara  ,  Italy. Photography:  ArtTour  International  Magazine  Š  Copyright  2012  All  Rights  Reserved.

See us in action! Log on to: ArtTourIntMAGAZINE And watch the video shoot & interview to Masae Satouchi -

Stopping  the  traffic!  New  York  -  Photography:  ArtTour  International  Magazine  Š  Copyright  2012  All  Rights  Reserved.


DON’T GET LEFT BEHIND . . . STAY AHEAD OF THE COMPETITION . . .ADVERTISE! STATE OF THE ART DESIGN Published four times a year, with articles of exceptional interest on, personalities, trends and events shaping the international art world in a visually stimulating package full of vibrant images in a stunning design.

A HUGE DISTRIBUTION NETWORK that includes galleries, five start hotels, shops, theaters and art venues throughout Europe, America, Asia, Australia and Africa. We are dedicated to exposing contemporary art offering an international platform for professional and emerging artists looking for the right exposure.

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MYSTIC JOURNEY underwater photography. By Masae Satouchi. Photographer: Junji  Itsuji Model/  Director:  Masae  Satouchi Location:  Miyako  Island  Japan Project  “Today's  Energy  Color”  

I never  saw  a  perfect  Turquoise  color  like  this  before... The  day  of  the  shoot    the  energy  was  Turqoise  ,  which  helps  recharge   our  spirits  during  times  of  mental  stress  and  sadness.  I  really  had  a   mission  for  this  shoot  ,  to  feel  Turquoise  and  share  this  visual  with  the   world.  The  Miyako  Island  dive  store  OCEANLAND  DIVE   CENTER  owner  and  underwater  photographer  Junji   Itsuji  ,  usually  takes  photos  of  his  clients  for  a   gift  when  they  dive  ,but  I  convinced   him  to  take  on  this  special  project.   He  and  his  staff  very  generously   gave  me  a  private  boat  to  do   diving  and  also  supported  me   during  the  project. The  day  of  the  shoot  the  forecast   was  rain  and  cloudy  ,  but  we  needed   the  sun  to  create  my  Turquoise   vision.    When  we  went  out  in  the   morning  and  dived  ,the  sky  was   overcast  ,but  after  lunch  I  strongly   visualized  the  image  of  what  I   wanted  ,  and  then  like  a  miracle  , the  sun  appeared  ,  only  for   enough  time  to  create  the   images  you  see   here.    

Photography Junji  Itsuji  ©  Copyright  2012  All  Rights  Reserved.

January 2013



There  are   no   coincidences  , there   is   always   a   reason.   Everything   that   ever   happens   is   a   once-in-a-lifetime   encounter.   I   would   say   there   was   turquoise   magic   surrounding  Miyako  Island  that  day.  It  is  a  very  spiritual   and  magical  island.  It  cleansed  my  spirit  and  the  pictures   we  created  that  day  gave  me  a  message:  “hope  of  light."  I   had  a  plan  to  go  to  Northern  Japan  after  the  photo  shoot   to   volunteer   to   help   with   the   earthquake   relief   effort  , which   had   recently   happened   at   that   time  , but   I   was   scared  to  go  and  very  sad  about  what  I  might  have  seen   there.This  photo  shoot  gave  me  a  strong  hope  for  the   future.    It  strengthened  my  desire  to  support  people  ,  and   took  away  my  fear.    I  went  with  a  light  heart. Turquoise  color  means  “  Follow  your  heart."    The  photo   and  message  were  just  what  I  wanted  to  see  and  receive.     Now   I   am   the   director   of   the   Japan   Color   Therapy   Association  , a   non-profit   that   uses   color   therapy   and   color  psychology  to  help  people  ,with  the  goal  of  creating   a  more  colorful  and  peaceful  world  ,  and  I  also  continue   to  do  regular  charity  color  therapy  sessions  in  New  York   where  all  profits  are  donated  to  the  Japan  relief  effort.               Many  people  think  that  the  earthquake  crisis  is  over  in   Japan  , but  people  there  will  still  feel  the  effects  of  this   disaster  for  a  long  time  ,  so  please  don't  forget.    This  to   me  was  the  real  message  of  that  beautiful  Turquoise  day:   Hope! Think  colorfully  ,  live  colorfully  and  be  colorfully.  My   goal  to  bring  joy  and  color  to  the  world.   Photography  Junji  Itsuji  Š  Copyright  2012  All  Rights  Reserved.

Photography  Junji  Itsuji  Š  Copyright  2012  All  Rights  Reserved. January 2013 25  !

Botero, Fernando “Crucifixión” 2011, Oil on Canvas 206 x 150 cm. Permanent collection of the Museum of Antioquia in Colombia. Photography Museo de Antioquia © Copyrights. All rights reserved.

Botero, Fernando “The Judas ́ Kiss” 2010, Oil on canvas 138 x 159 cm. Permanent collection of the Museum of Antioquia in Colombia. Photography Museo de Antioquia © Copyrights. All rights reserved.

FERNANDO BOTERO Great Painter & Sculptor by Juan David Aguilar Botero


January 2013



Botero, Fernando “Colombian Family” 1973, Oil on canvas 183 x 195,5 cm. Permanent collection of the Museum of Antioquia in Colombia. Photography Museo de Antioquia © Copyrights. All rights reserved.

I met Fernando Botero in 1976, on the occasion of the publication of the book Botero, a novel about his life and work, written by the German critic, Klaus Gallwitz, who was the Director of the Museum of Frankfurt. The novel was published by my father, Raul Aguilar Rodas, in Spanish, and published jointly with the publisher Verlag Gerd Hatje from Stuttgart, Germany. In this book there is a description that Master Fernando Botero made of himself, in an interview he gave to the journalist Dario Arizmendi Posada in El Colombiano during May of 1976. Thirty-six years have gone by, and this is his testimony: “For me, painting is a real necessity; something that, if kept inside, will suffocate one - kill one. For me, when I'm working, only the canvas exists and my only concern is to let my imagination flow naturally and that all the series of images come out. My works are not caricatures –they are deformation; and that is the art. In my case, it's my style, dating from the early watercolors and drawings I painted in 1947. Since I began, I felt the desire to find these forms of expression

which, over time, have become my own language something subconscious. Given the nature and volume of my work, many may think that I am interested in fat, which is absurd. I was always passionate with the fullness of the form, which is different. This explains why some people sometimes react violently at first against my paintings. But when they understand them, when they enter them, they love them. If I do not paint daily, I find the days eternal. For me it is a matter of joy, pleasure, and infinite happiness. My paintings are born, on the other hand, by ideas that go through my mind and that translate in very fast notes. After these sketches, the biggest concerns arise, along with more complex drawings. If with time they reach the necessary density, they then pass to become oil paintings or drawings: works. I paint the Latin American world in all its fullness – not only landscapes and people, but also political situations. Within the disgusting reality of military dictatorships are incredible artistic possibilities and poetic ones. They also have a satirical dimension although the ridicule is in its own reality.”

January 2013



Botero was born on April 19, 1932 in Medellín, Colombia; his parents were Mr. David Botero Mejia and Mrs. Flora Angulo Jaramillo. He had two brothers: John David and Rodrigo. At twelve years old, Botero entered the school of bullfighters in his hometown. He gave up the idea of becoming a matador when he faced the first heifers. From this experience, he developed a great fondness for bullfighting, which he expressed in his series "La Corrida". The first drawings he made were for the Sunday supplement of the newspaper El Colombiano of Medellín. Then he was inspired by the posters drawn by Ruano Llopis announcing the bullfights in Spain, and painted watercolors with bullfighting themes. In 1948, he participated in the first Exhibition of Antioquian Painters in Medellín. He settled in Bogota and in 1951, held his first solo exhibition at the Leo Matiz Gallery. He exhibited watercolors, inks, gouaches and oils. The following year he made a second exhibition in the same gallery and made greater financial gains from the sales of his work. Months later, he won the Painting National Prize at the IX Salon of Colombian Artists with his painting "Seated Woman". In 1952, he went on an Italian ship bound for the city of Barcelona, Spain. He went to Europe to pursue a career in the arts, and to hone his talents. He entered in the San Fernando Academy in Madrid. He discovered Goya and Velázquez in the Prado Museum. Afterwards, he devoted himself to painting and with the money raised by selling his paintings, he visited Rome, Florence and Paris. In Florence he entered the School of Fine Arts to "learn how to paint," as he expressed it. For two years, he traveled on a Vespa scooter, visiting all the museums in Italy to study the great masters: Raphael, Leonardo, Piero della Francesca, among others. This experience allowed him to study the different schools, reinforce his knowledge of the use of color, the composition and the volume that would later characterize his work. After three years in Europe, he returned to Colombia in 1955. He married Gloria Zea and they traveled together to Mexico in 1956. There was supported by the gallery owner, Antonio Sousa, who organized two exhibitions with very good reception from critics and buyers. It was in Mexico where he painted "Death Nature with Mandolin", a work that opened a definitive and unique space in his career. The same Maestro Botero currently defined it as important as "crossing a door into another room."

Botero, Fernando “Mary and Jesús death” 2011 Oil on canvas 207 x 113 cm. Permanent collection of the Museum of Antioquia in Colombia. Photography Museo de Antioquia © Copyrights. All rights reserved.

In Mexico, their first child, Fernando, was born, followed by Lina and Juan Carlos. In 1958, he returned to Bogotá and taught at the School of Fine Arts at the National University of Colombia. He shared the second prize in the X Saloon of Colombian Artists with painters Jorge Elias Triana and Alejandro Obregon. He later won first prize in the XI Saloon of Colombian Artists for his work "Bridal Chamber". In 1960, he divorced Gloria and went to live in New York. He rented a small studio on McDougall Street without air conditioning or heating. He slept and painted with a coat on in the long winter nights. His first year in this city was very difficult; he lived with limited economic resources and his work was not widely accepted. The market was looking for abstract art, which was the opposite of the work done by Master Botero. That year he exhibited at the Cont. Next page

January 2013


ARTTOUR INTERNATIONAL ANNIVERSARY ISSUE Botero, Fernando “Pedrito” 1975, Drawing (Pencil and Watercolor on Paper) 59 x 43,5 cm. Permanent collection of the Museum of Antioquia in Colombia. Photography Museo de Antioquia © Copyrights. All rights reserved.

Gres Gallery in Washington D.C., and won the Guggenheim National Prize for Colombia. In 1960, the curator of the Museum of Modern Art in New York (MoMA) approved the purchase of "Mona Lisa at Age 12", a work that had been completed a year earlier. With his tenacity and persistence, he was making a name for himself. Demand and sales of his works increased dramatically and this allowed him to have greater economic stability. The sale of his work to MoMA allowed him to receive greater appreciation from the critics worldwide. In 1962, he made a solo exhibition at the Gres Gallery in Washington D.C. and at The Contemporaries in New York. In 1963, he moved to Long Island and rented a studio in Greenwich Village. His unfortunate circumstances made him the seller of his own work, due to the fact that the galleries were not interested in it. This was the moment when Botero refined his style to be more similar to Rubens. In New York, he met the German museum owner, Dietrich Mahlow, who appreciated Botero’s works. He quickly organized five exhibitions in Germany, and in 1966, he exhibited at several galleries: BandenStaatliche Kunsthlle of Baden-Baden, Buchholz Gallery in Munich and Brusberg Gallery in Hanover. From the success obtained in those exhibits, the most important and influential galleries in the world became

Botero, Fernando “Pedro” 1974, Oil on canvas 194,5 x 150,5 cm. Permanent collection of the Museum of Antioquia in Colombia. Photography Museo de Antioquia © Copyrights. All rights reserved.

interested in his work. The New York galleries that once closed their doors on him, now began to open the doors once more. In the following years, he had solo exhibitions at the Art Center of Wisconsin in Milwaukee, the Juan Mordó Gallery in Madrid, again in the Buchholz and Brusberg galleries of Germany, and in the Claude Bernard Gallery in Paris. In 1969, the Marlborough Gallery in New York welcomed him as an artist and made him an exhibit at the end of that year. His works were sold between $ 3,000 and $ 9,000 USD. In 1973, four years later, his works were sold at $ 35,000 USD. Today his works are sold at over $1.5 million USD. In 1970 in Germany, he conducted a retrospective with eighty of his works produced between 1962 and 1970. These works were exhibited in the following galleries: Staatliche Kunsthlle in Baden-Baden, Haus am Waldsee in Berlin, Kunstverein in Dusseldorf, Kunstverein in Hamburg, Kunstverein in Bielefeld and Hanover Gallery in London, England. In 1970, he and his second wife, Cecilia Zambrano, had their fourth child - Pedro, better known as Pedrito. In 1974, in an absurd car accident in Spain, Pedrito died. In this accident, the Master Botero lost the joint of his little finger. This event was devastating to Master Botero. For months, he cried and felt incredible pain. He locked himself into his studio, just to paint his son Pedrito. As he says, "art was his lifeline." In this sad

January 2013



Fernando Botero to his left Anibal Gaviria Mayor of Medellín.

moment came the painting named "Pedrito", which Master Fernando Botero considers "the most special" of his artistic production, for the personal meaning it holds. After the death of his son Pedrito, he divorced his second wife. In 1975, he met Greek sculptor Sophia Vari; they later married and lived together. In this same year, he dabbled in sculpture and dedicated himself to this discipline for the next ten years. In his sculptures, Master Botero pulled the voluptuousness and forms of his paintings and gave them the appearance of three dimensions. In 1980, he established his studio in Pietrasanta, Italy - a village of marble quarries and foundries. He has produced more than three hundred sculptures and these have provided the universality of his artistic career. Master Botero has exhibited his monumental sculptures in such important sites as the Champs Elysees in Paris, where he made the biggest exhibition with thirty-two monumental sculptures; the Park Avenue in New York, the Paseo de Recoletos in Madrid, in the Plaza del Comercio in Lisbon, the Piazza Della Signoria in Florence - in front of the Palacio de Bellas Artes in Mexico, at the Pyramids of Egypt, in Tokyo, Washington, Jerusalem, Sao Paulo, Santiago de Chile, Venice, Singapore, and he continues being exhibited all around the world. He spends every summer working in his sculpture workshop in Pietrasanta, Italy, with his team of master craftsmen and smelters. In 2011, his sculpture, "Dancers," was auctioned by Christie's at $ 1.76 million. His work has been prolific and colorful, full of voluptuous characters and objects that fall in a balanced and pragmatic environment; they can express satire, derision, contempt, love or passion. His work is innovative, created in its own style that is recognized from a distance. As Fernando Botero reaped success, he also became an important art collector and philanthropist.

Fernando Botero at Medellín.

Fernando Botero at the Museo de Antioquia.

Botero, Fernando “Ex - voto” 1970, Oil on canvas 240 x 192 cm. Permanent collection of the Museum of Antioquia in Colombia. Photography Museo de Antioquia © Copyrights. All rights reserved.

Cont. Next page

January 2013



In 1998, he offered to Medellín, his hometown, the donation of his collection of international art and sculptures to be exhibited at the Museum of Antioquia. As political leaders in the city showed no interest, the proposal was exploited by the mayor of Bogota, Enrique Peñalosa, who offered to dedicate the museum to the artistry of Master Botero. He accepted the offer made by Mr. Peñalosa and suggested that he wished to house the collection at the Luis Angel Arango Library, which belongs to the Banco de la República, the Colombia’s national bank. To Bogota, he donated 85 works from great artists such as Monet, Renoir, Degas, Caillebotte, Miró, Francis Bacon, Dalí, Matisse, Henry Moore, Marc Chagall, Gustav Klimt, Antonio Matta, Rufino Tamayo, Antonie Tàpies, Picasso, De Kooning and others, along with 123 works of his own creation. To the Museum of Antioquia in Medellín, his hometown, he has donated since 32 works by international artists and 176 works of his own authorship since 1976. The latest donation was the entire

collection of the "Viacrucis: The Passion of the Christ", composed of 27 large format oil paintings and 33 drawings. With the patronage of Maestro Fernando Botero, his home country now has two museums that are on par with the best international museums of the world. On the occasion of his 80th birthday, Master Botero held a retrospective exhibition entitled "A Celebration" at the Palacio de Bellas Artes in Mexico City, where he exhibited 177 of his works, including watercolors, oils, pencil, charcoal and small and large format sculptures. In addition to this retrospective, during 2012, Master Botero has had seven large exhibitions in different countries. Master Botero is currently the most quoted living artist from Latin America. His works can be found in over 60 museums around the world, and he has done more exhibitions in museums worldwide than any other artist. He is an artist of integrity - orderly and disciplined. He paints every day, which has allowed him to stay active for more than 65 years. He has workshops in Pietrasanta,

Paris, New York, Greece, and Monte Carlo, where he makes small-format works at his farm in the town of Tabio, on the outskirts of Bogota and at his farm in Rionegro. Two words define the Master Fernando Botero: generous and rebellious.

Bottle of Rum Maestro Botero

Juan David Aguilar Botero Contributing Writer from Medellín, Colombia Juan David Aguilar Botero received a BS in Industrial Management at the Georgia Institute of Technology in Atlanta. He has more than thirty years of experience in the graphic arts and publishing industry. He's an art collector, art activist and entrepreneur. A Professional Photographer, museologist and curator from the Universidad de Antioquia in Colombia. Currently, Juan David works as editor and publisher and in the reproduction of fine art works for museums, galleries and artists. Member of the Colombian American Chamber of Commerce.

January 2013


“CREATING ART TO INSPIRE LIVES” www.vividartsnetwork.NET

601 W 174th St New York, NY 1003 USA 1+(347) 321-8017 Italy 39+(345) 167-7704

“CUTTING EDGE” MASTERS OF CONTEMPORARY ART by Viviana Puello - Florence Passion and inspiration have been the catalysts for the most precious works of art throughout history; we all cherish the legacies left behind by masters we admire, and we look back to their creations and dedication with awe. They consolidated the links existing between each other, developed new relationships, sought out new inspirations and pictorial means and began movements that shaped the history of art as we now Artists Shaping the know it. Except for those who had a comfortable financial situation, many of them history of today’s faced periods of bitter poverty; they painted in the open air, researching the optical phenomena of light and color which enamored them, and rustically developed techniques for the creation of high quality materials that would become the creative elements of their masterpieces. There is so much left for us - the artists of today - to learn from.


We are now in a whole new era, the time of information and technology. Computer use has changed the way most people do business, including those in the art field. Artists, animators, photographers and filmmakers use computers to create their art, as well as implementing the resources for much more. With the advent of computer technology came the ability to preserve artworks in digital format, as well as speeding up art distribution and professional promotion via the world-wide web. We now have the opportunity to see the emerging artists on the other side of the globe and follow the evolution of their careers in real time. The wonder of the internet and the magic of social media have been my allies as a curator - to discover and follow a group of fantastic artists whose careers I have seen emerge and whose techniques have developed to a master level. The group of artists we are presenting at the "Cutting Edge" Masters of Contemporary Art exhibition will be taking part in and helping to shape the art history of our generation. We will be presenting to you a variety of artistic excellence, from video performance, digital paintings, mixed media works and installation, to sculptures and oil paintings reflecting a diverse and wide spectrum of media and techniques. To harness the flexibility and power of these rapidly evolving creative systems, there is a need for radically new foundational ideas and principles. There is a need to develop effective principles for building and analyzing such systems, along with the necessity to open up our minds and explore beyond what we have traditionally recognized as art. The artist of today is the perfect creator - the one I see with awe and admiration and the one creating a new legacy for the generation of tomorrow. No limitations, no competition, no need to be better than the other, but just the need to be - no need to overachieve, just a need to create - no need to sacrifice, just the need to enjoy the process. The artists of today are versatile, using everything and anything that comes to mind or to their hands that triggers the fountain of their inspiration: a lot of times even using recycled materials or choosing specific subjects to convey a message that would serve as a contribution to better our society, to improve the environment and the world we all live in. Above all, we are mysteriously connected to a whole, like light bulbs that are all plugged in to a single source of energy and emanate different colors of light. If you go deep and explore, you will find a unique message - a song that is sang in unison. This art you will find is truly cutting edge. See us in action! Log on to: And watch the online broadcast of this event- Watch artists interviews, art collections, press conference and much more .

January 2013




“L'apparenza” Lambda Print 120x80 cm

Until today he covered all the different areas of photography, from the black&white to the colour technique, from the coverage to the artistic photography, always searching in every image the artistic and creative potential that are in the picture itself. Therefore it happens that pictures of common people shot in their quotidian acts show themselves as funny or ironic. Also it happens that a urban landscape via the in-shooting elaboration reveals itself perfect as a surrealistic paint. Also it happens that the colours of the Nature via the digital imaging processing become as shapes. I believe this to be the unitary feature of his works and what he wants to pursue: the quest of what every single image can become through the artistic act, the looking for the art that can be showed and revealed through the shoot and in the inshooting elaboration or in the post-production processing, the search of the photographic interpretation of abstract concepts.

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“Ritratto Extra” Lambda Print 39x60 cm

January 2013




“Windows of Silent” Fired Oils on Porcelain

“My passion for art and wildlife in particular has come from many sources and influences it is an on going journey of self discovery a joyful learning process that fires and feeds my soul, and that which I hope to share with others.” Nature, beauty and art have always been part of Alex's life. As a child she traveled throughout the Far East Middle-America and the U.S. with her Diplomat parents, who were also avid art collectors. Surrounded by the lush vegetation of the tropics with its bright colored wildlife combined with the exquisite antiques her parents collected, beauty was everywhere. China, Thailand, The USA and Mexico, the different cultures and native wildlife instilled in her a love of al things beautiful and a strong desire to express her self creatively. As a child she drew instinctively and later won prizes in school competitions with her natural talent. All this made an indelible impression upon her mind, thus shaping the future artist. Trained initially as a Goldsmith, she graduated as a Designer Craftsman in the UK, and then moved on to work as a photography stylist. Native American culture and art captivated her to the extent that it became a serious

interest and subject of study. Silk being her favorite fabric, she started researching ways to paint on it and soon developed her own formula, medium and technique to suit that specific textile. From there on, she started experimenting with painting on leather.

“Polar Son” Oil on Canvas

See us in action! Log on to: And watch our “Art 2 Heart” Interview to this artist.

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January 2013




“My boot” Digital Art 102x130 cm

Born in Armenia, Yerevan Lives and works in Los Angeles, USA 2012 Dublin Biennial SOLO EXHIBITIONS 2011 - Gallery Godo, LA, CA 2009 - Gallery Godo, LA, CA 2006 - Paul Joseph Gallery, Las Vegas, Nevada 2000 - 3rd Millennium Gallery De'Fine, West Hollywood, CA They will ask you how to traverse life. Answer: Like crossing an abyss upon a taut string Beautifully, carefully, and fleetly. Leaves Of Morya's Garden This message is my guidance in my work  GROUP EXHIBITIONS Participated in several Group Exhibitions

“Opus 25” Digital Art 102x132 cm

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January 2013




“Paese 2” Smalti su legno 90X90 cm

“My artistic pathway started w i t h t h e fi r s t i m p o r t a n t experiences in drawing with pencil and ink for advertising graphics,newspaper and magazines ten years after. In ’80 years I started to paint with oil, acrylic and other several technics (tempera and watercolors) on canvas,paper ,wood panel ,etc.; I began to exhibit in art galleries in my country. The late 90’s , I began to exhibit in several events in Italy and I have attended courses and workshops in engraving on copper plates and sculpture. Also,I worked with important Italian engravers ;and together we work to this days , but the work in advertising graphic design still continues. The most recent personal exhibits have been : Comune di Palermo-Hall, 2005 ,Biennale di Firenze 2007, Trapani hall ,spazio expo 2008 , Erice- Erice Hall 2009,Cefalu’ 2010, galleria Artem - Palermo 2011, Roma-galleria /libreria Bibli 2011.” Many Artworks of the artist are present in Italy and Europe and were used also for covers of books and Italian magazines.

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“Suburban” Mixed Media 70x100 cm

January 2013




“Manzanas” Acrylic on Canvas 20x20 cm

“My paintings represent a blend of personal feelings and memories connected to my family and culture which inspire me to evoke serenity and capture simplicity. Sometimes I’m moved to create work vibrant with expression and energy. Yet I always follow the same process, concentrating on keeping the image simple, honest and real. With every brushstroke, my aim is to create work that will produce and experience for the viewer that will bring them into my art, to feel the emotion and perhaps make a personal connection as they explore the image. With my portraits, I want the viewer to walk away wondering and reflecting not only about the artistic technique, but also about the lives of the subjects, their stories and their way of life. In short, my deepest hope is that viewers will find my art simple, honest and timeless, and that it will bring joy to people’s lives.”

For more info visit “Still Life” Acrylic on Canvas 20x20 cm 20x20 cm

January 2013




Folle époque Oil and collage on rusty steel

Born in 1974, I majored in Literature and Philosophy in High School. After studying Language and International Trade for three years in college,  I was admitted to the Pivault School of Applied Arts and obtained my diploma in 1998. I then began my career as an artist painting sets for theater and television. In 2004,  I quit television and devoted myself to  my paintings, which  I have exhibited since 2000 in parisian art galleries. In 2006, the poems of Charles Baudelaire inspired her to create images for ten of his poems in Les Fleurs du Mal. This allowed  me to publish a book of interviews with Michel Archimbaud (Editor and Author of The Last Talks with Francis Bacon). Exhibitions: November 2010 "Art en Capitale" Grand Palais Paris November 2011 "On The Edge Exhibition" Bologna, Italy Since April 2011 Agora Gallery New York From 6th july until 31st July 2012  The French Perspective, Contemporary Art from France November 2012 Grand Palais 2013 Centre Pompidou Paris

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“The fox and the Crow” Oil and collage on rusty steel

January 2013




“Penis on Wheels” Bronze Sculpture 20x15x8 cm

“I was born and grew up in the state of Indiana, USA. I graduated from Purdue University with a Bachelors degree in Psychology with a concentration in Fine Arts and Humanities. While in Paris and Florence I studied sculpture under Peter Rubino and Martine Vaugel. In a four year period I studied under more than twenty different artists. I have had work shown in the Boca Raton Fine Art Museum two years in a row. A sculpture called "Eve" and a sculpture called "Trophy Wife" were accepted into this juried exhibition. The pallet I use in my work has been inspired by my many trips to the Caribbean. I look forward to the future and what it may bring to me and my art.”

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“Hanging Vaginas” Bronze Sculpture 217x71x56 cm

January 2013




The Third Elegy_Archival Inkjet Print_23x28

Ciara Duffy was born in 1989. She attended Savannah College of Art and Design from 2008-2012 graduating with a BFA in Photography. Ciara shoots predominantly in black and white and always with film. Distortion, motion blur, shadows, human nature, pictorials, religious iconography, body language, and alcohol are huge influences on the work she does. Ciara enjoys collecting antique photographs of albinos, stillborn babies, and Catholic iconography. Such artists as Artemisia Gentileschi, Emmet Gowin, Francis Bacon, Sophie Calle, Jacques Henri Lartigue, Ralph Eugene Meatyard, and Mario Giacomelli have influenced her throughout time. Raised in an Irish Catholic family, Ms. Duffy was deeply instilled with the burden of original sin and Catholic guilt. No matter how fervently Ms. Duffy has attempted to reject and disown these beliefs, and Catholicism as a whole, she continues to grapple with the beliefs per se and to find peace with their effect on her life. These diptych-like images, taken from her larger work entitled “Feticide,” are one just one attempt at such a search for understanding and peace. Discovered through travel, selfexploration, and several guilt-ridden experiences, these images narrate her most recent encounters with sin, guilt, and selfabsolution.

The Third Elegy_Archival InkjetPrint_23x28

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January 2013




As a painter, Cicily Elenor Bäckström is unsparing. This Swedish artist possesses the wonderful quality of commitment, in art as well as in life. To give oneself means to be free, and the painter-whose works are displayed worldwide-lives for freedom; as she herself declares, that is her creed. Her paintings are impressive for the very intensity, and passion they exude. They are the result of an instinctive, primeval gesture; yet, as happens with the best examples of abstract painting, they also experience the gentleness and abandon of the liberating pleasure of surrendering to creativity without formalisms, in complete rapture. Bäckström´s relation to colour is almost a dance; as if led by her unconscious, she allows lines, trajectories and reverberations to lift off from the canvas, with astonishing light, depth and power effects. Despite displaying at times an enchanting lightness, Cicily does not shirk her destiny. So, whereas the atmospheres and chromatic choices of some such works as “Volf Wram” and “Pallas Thunduri” remind of the cold and rigid climates of her native Sweden, others, like Uniform Husar and Rose garden can involve with the warmth of their colours, rather distant from the icy atmospheres familiar to the artist. When the impulse is authentic, it knows no limits, for it talks to the soul.

“Denim Blue” Acrylic on Canvas 80x80 cm

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January 2013




“Smith Tire Bywater, New Orleans” Photography

The product of a tradition of family artists – from my grandmother, Sally Victor, a famous milliner who designed beautiful, iconic hats for everyone from First Ladies Eleanor Roosevelt, Mamie Eisenhower and Bess Truman, to Princess Grace of Monaco; to my mother, acclaimed artist, author and illustrator, Joan Berg Victor - my work, in it’s Representational, Abstract and Abstract Expressionist forms, was the product of art as a cradle language, incubated in the distillation of these two important artistic influences. From these two organic influences I discovered precision and fineness from my mother’s representational drawings and paintings, and creative whimsy and powerful abstractions of my grandmother’s hats. My Representational work, in its celebration of authenticity, sensory subtlety, and profound discovery. My Abstract and Abstract Expressionist photographs, unlike my Representational images, are inspired not by the work of Siskind, Callahan and Weston, but in rather stark contrast to that perspective I seek to stalk a new photographic path inspired by the works of abstract expressionists like Mark Rothko. My Abstract and Abstract Expressionist works share a unique vision of movement and color; a personal perspective where motion is sensed and color and texture are unearthed where there seems to exist only stillness and unimaginative repetition.

“Tracks Across The Delaware” Photography 76x102 cm

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January 2013




“Look to the Skies” Oil on Canvas 61x91 cm

“I was born and raised in Edmonton and have spent many an hour painting and drawing. After graduating from Victoria Composite High School with a Commercial Arts Degree, I spent some of my time traveling and dabbling in many art projects. Although painting was my passion, so was raising my son. Getting back into my art was very rewarding for me. I love bright colors and am inspired by what I see around me. I am currently a member of the Edmonton Arts Council, PACE (Professional Arts Coalition of Edmonton) and involved with The Canadian Artists for the Poor, Art-walk Artists, Artscapes Canada , The Visual Arts Alberta Association, and CARFAC . My paintings have been shown in various places around Edmonton, Calgary, California and are displayed in homes throughout North America and as far away as New Zealand. I continue to grow with my passion for art. I have had a show at the Artist's Alley Gallery in San Francisco and the Agora Gallery of New York City. I am also involved in a book project called Artscapes Canada/Pays-Art”

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“New York, New York” Oil on Canvas 51x79 cm

January 2013




“Collage” Mixed Media 25x19 cm

Dawn Whitehand has been a practicing artist for approximately twenty years, and during this time her medium of choice has been clay. Most of her art practice has centered around creating sculpture that reflects the natural environment in both form and texture. Whitehand has exhibited her sculpture nationally and internationally, and is held in several public and private collections. She has post graduate qualifications in fine art, and has images of her sculpture published in several books. Whitehand maintains a studio on the outskirts of Ballarat, Victoria, Australia where she also teaches classes to adults and children and runs skills based workshops. My studio practice explores humanity’s relationship to the environment through the sculptural possibilities of organic materials, such as clay, natural debris and textured found objects. I try to use textured surfaces to capture the vulnerable essence of the landscape. The organic and textual properties of rusty found objects, crackly glazes, and twigs and branches portray the landscape's natural essence, which I hope draws the viewer’s instinctive self closer to their innate belonging within the organic world. This reawakening of humanity's holistic connection to the natural world is imperative in today's context of climate change and the exploitation of the Earth which has led society to this outcome.

“Planet Earth” Ceramic 23x31x18cm

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January 2013




“Boccadasse, Genova” Watercolor 78x58 cm

A native of Hamilton On., and a graduate of Queen's University, Donna taught Physical Education, English, and Art at Moira Secondary School in Belleville for 34 years. Since retirement in 1999, she has become a full time artist, watercolor instructor, avid traveller, and leader of artists' travel vacation workshops. Donna's paintings have been shown to critical acclaim in numerous juried shows, galleries, and art festivals throughout Eastern Ontario. Her style gives the impression of realism and is best known for attention to detail and bold use of colour. Subject matter is inspired by many life-long passions. She has been "Artist-in-the Park" at both Sandbanks and Presqu'ile Provincial Parks and loves to paint in Algonquin as well as in the tranquility of her garden. Travel has inspired many paintings from Europe to the High Arctic. Years of experience with boats and horses allows for accurate rendering of these within a composition. Horse and pet portraits are a specialty. In some of her more recent paintings, Donna has emphasized pattern and design bordering on semi-abstract through use of unusual colours and juxtapositions. This allows the viewers a flight into fantasy and individual interpretation.

For more info visit “The Unfurling” Watercolor 72x90 cm

January 2013




“Intuition” Photography 75x59 cm

“Life is an epic experience. For most of us there is love and heartbreak; friendship and betrayal; deep longings and a search for meaning; and the ubiquitous presence of death. Fortunately, accompanying the grief and strife is wonder, magic and ecstasy. This is the stuff of myths and legends and also the lives of every man and woman. This is the lens that I see the world through and it seems only fitting to tell the stories of our lives with the poetry and drama that we associate with mythic story telling. The story telling is collaborative, intimately involving the people I make these images of. The first stage of the process is to discover things in each other’s lives that evoke a shared sense of wonder and passion. The next stage is to bring together our varied creative skills and insights and merge them through improvisation and exploration. I love this collaborative process and I hope that some of this joy and passion shows through in the work I’ve made with some extraordinary people.”

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“Secret II” Photography 59x78 cm

January 2013




Still from the video performance "It could be worse you could be fat"

Erin Zerbe was born and raised in Virginia Beach, VA. She ear ned her BFA in Communication Arts and Design with an emphasis in Kinetic Imaging from Virginia Commonwealth University in Richmond VA. During her time here, she was an exemplary student and community member, and received such honors as The Kinetic Imaging Department Award of Excellence, as well as being selected the Student Ambassador for the Arts at the Tasmeem Design Conference in Doha, Qatar, 2006. After graduating, she stayed on to teach adjunct as well as work as a news editor for Channel 12 News, Richmond, VA. After earning her BFA, Erin worked as a freelance multimedia artist, doing extensive work for such clients as The Chrysler Museum of Art. In 2009, Erin began pursuing her MFA in Photographic and Electronic Media from Maryland Institute, College of Art. Here, she spent much of her time in the studio and in the classroom, teaching courses such as Animation, Video, and Electronic Media. Her work as a time based artist focuses on human interactions and social relationships with sexuality, the body, and technology. She tackles issues of body image, size acceptance, and food abuse. Erin received her MFA from MICA in May, of 2011.

Erin spent a year teaching at Virginia Commonwealth University in Richmond, VA. She taught classes in the Art Foundations and Kinetic Imaging Departments, including Media Theory, Web for Media Artists, Animation, Video, and Time Studio. Recently, Erin took a position as Assistant Professor of Digital Art at Siena Heights University, in Adrian Michigan. In her free time, Erin works as a plus size model, and make up artist. She enjoys the opportunity to promote size acceptance through fashion, photography, and art. She currently resides in Tecumseh, MI with her husband Steven, and their cat, Koiya.

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“Control� Still from the video performance

January 2013




“Elemento VII” Photo worked by hand on Hannemuller paper 55x65 cm

Brazilian artist Fernando Braune creates an entirely new surrealistic photographic vistas out of black-and-white images of people captured in everyday contest. Drawing on his extensive cultural, social, psychological and artistic background, Braune infuses each photograph with levels of reference and meaning that help to define the new world he strives to create. Indeed, his intense and unexpected use of color, combined with his masterful sense of composition, results in edge images of people who seems to dwell at the borderland of reality: between this realm and a world suffused with dreams and the fantastic. Braune takes a unique approach to photography, literally constructing another universe out of his images. Black and white photograph are worked over by hand using various media ant then digitalized before being printed onto cloth, canvases or cotton paper. In his artistic process, Braune integrates old techniques used in the earliest stages of photography to achieve a contemporary effect. By adding watercolors, pastels, and crayons over the images, he introduces a surrealistic element, completely decontextualizing his subjects from their assumed reality. Often, he embroiders elements on the canvases as well – another old technique that he

uses to transform and add depth to the photographic images. What makes Braune’s work so fascinating is the way he is able to integrate a diversity of concept and go deep beyond the surface to transform the everyday into something extraordinary. As he explains, “I think art should be seen as something holistic, wherein all kinds of concepts should be interconnected to provide a supportive artwork.”

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“Elemento III” Photo worked by hand on Hannemuller paper 65x55 cm

January 2013




“I, the raincoat” fumagine on canvas 100x70 cm

"Fumagine” To paint with a flame is Frans Frengen's unique style. He paint as a magician this contemporary forms and dreamscapes, “paintings-drawings” of a fascinating world of monochrome shades soaked in uncomplicated life on canvas, paper and other. Not so easy to describe intense feelings but just exceptionally plastic. Fumagine style combines painting with casual nuances of smoke, each with their individuality and sculptural way. These hesitant forms, akin to structures on computer and in photography give to Frans Frengen a metaphor of possibilities that implies that his oeuvre is molding to every spectator a deep reaction about our endless world and worries. You may ask whether or not it is figurative or abstract. It remains of feelings, of experience and skill in drawing and painting. Often by only white acrylic paint spread on a white canvas incensed with that brown-gray precipitation of his burning flame Frans Frengen gets a spectrum of complementary blue. Is it "gestural" action painting? Frans Frengen, however, find the role of his brain is too large. Playing spaces on these sophisticated sculptures – layers of soot - result in a unique pattern of surprising beauty. With his portable square or geometrical figures in color the artist asks the spectator to commit, or to go in discussion. This dynamic expressionistic style, you could describe as if the gesture has created, combined with topical content opens new contemporary perspectives. With a second place in “conscious creations” it‘s as "Cutting Edge".

“The graces” fumagine on foam-board 100x70 cm

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January 2013




“Gold” Mixed Media 85x65 cm

Fredrik Sköld has been working and living in his home-country Sweden for the last six years. Previously he lived in New York City and Japan for twelve years, working as a photographer while exploring different mediums in art. These mixed medium paintings with inlays of various materials is the result of that experimentation and is what he’s been focusing on for several years. The early years as a photographer shows in the work through carefully built composition and balance of color. In his own words: “The Fragments Series is an extension of my earlier work with acid on copper-sheet. Inspiration comes from the same place: the texture, colors and design from nature and earth itself. All lot of ideas came to me when living in Japan; Wabi-Sabi was a great inspiration to me. The beauty of imperfection, of patina, the simple, and that of decay. The timeless and the ageless. The actual fragments consist of things I collected from various places on earth; like wood bored by shipworm, rocks, dead coral, a piece of rusty barbed wire, black lava-sand from the volcano Etna, nuts and stones from the Amazons, a disintegrated bible washed up during a storm on

“Desolation Row” Mixed Media 85x65 cm

Coney Island, piece of a computer logic-board I found when diving etc. With composition and selection of combined pieces I give these a fragments a second life, creating mysteries and questions. Like an archeological dig site or a timecapsule.” All organic material is archivally treated and will withstand light and air. The paintings are framed with an extra sturdy screw-on backing and measure 86x65 cm, with a glass front.

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January 2013




“Abandoned Garden”_Acrylic on Canvas 48x28 cm

Grace Arledge is an interpretive realist who works with recognizable subjects and a wide variety of media. She approaches each piece with a fresh eye, unafraid to use new techniques if that is what fits the subject best. Arledge employs a method of expressionism that stays true to her subject while still leaving room for artistic interpretation. "I use representational art so that the subject is 'in your face,'" she explains, and she adds to the intensity of the visual experience by always choosing objects, landscapes and people in which she is interested, conveying that fascination through her art. Arledge prefers mixed media because it gives her the freedom to pick and choose exactly which aspects of the piece would work best with each medium. The result exhibits a delicate handling of light and varied textures with a strong focus on form, structure, shape, and contrast. Grace Arledge was a commercial artist in Chicago and Atlanta for ten years, and has shown her work in numerous exhibits in Chicago, Atlanta, Florida, and New York.

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“Autumn Birds”_Colored Pencil_40x50 cm

January 2013




“Magic Moment” Acrylic on Canvas 74x91 cm

Joyous interactions are at the heart of all of Ingrid Roth’s works, built as much into the tender gaze of her couples and families as in her affectionate use of her medium. Roth builds her works in acrylic paint on canvas, revealing her passionate love of color as she pairs together layers of vibrantly illuminated pigments with a soft, airy stroke. Within her whimsically bright and expressive paintings a playfully skewed take on reality intuitively emerges, inspiration for her unconventional spectrum drawn from memories of her mother’s weaving. “People often tell me that my art gives them joy and hope,” Roth says. “To me, happiness is life itself, my friends, animals and nature. I feel a great reverence and gratitude for my artist’s life and the humanity it has given me.” Ingrid Roth was born in a small village in northwest Sweden where she now lives and works after many years spent outside the country. She studied Classic art in Östersund and later Expressive Art Therapy at Expressive Arts AB in Stockholm, a subject she now teaches seasonally in both Sweden and Norway. Roth continues to receive international recognition for her art.

“Out door picnic” Acrylic on Canvas 74x91 cm

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January 2013




“Thorn #16” Digital Aluminum Print 90x60 cm

In it’s essence, photography is an act of voyeurism. To catch reality by stealing it’s light is an indiscretion made with sensibility. Recording an image transforms a transient ray of light into a permanent object that, by it’s nature, may induce feelings or ideas that give a meaning to it’s own existence. Photography is fascinating because it keeps the moment an image impressed us, induced a thought, stayed in our memory, and thus entered our own individual culture. This gratifying record of life, so dear to photographers, is largely responsible for the effect induced in the observer. And it mostly starts with serendipity. Whether images or ideas, it is through this quest for something that touches your mind that the process begins. This initial impression usually evolves into a project that will take time to mature and, finally, will come to shape in a series of images. It may be shot in half an hour or take years of careful and, sometimes, occasional capture. But, in the end, it all will be around a unifying concept, a personal evolution of an idea. Still all these series of images are constructed around a central perspective. They try to show the

“Theater #13” Digital Aluminum Print 90x60 cm

unseen, mostly what was so near but nevertheless so distant. Unawareness may be the definition. From a room with a history in it’s walls, to a tale of life and death, these images try to disclose what you might have glimpsed but never fully seen.

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January 2013




“Find happiness on your own” Acrylic, craypas on Canvas 53x53 cm

KO-HEY! ARIKAWA was born in JAPAN in 1978. At the age of 24, he became conscious of his color sensation and his interest in drawing pictures and suddenly decided to venture into the uncharted art world. His exhibitions are called “HAPPY FANTASIA” Not only displaying his artwork on the gallery walls but he also gives high priority in directing the whole gallery space with his unique sense of art. You’ll feel as if you have wandered into a fantasyland. He always relates that he would like to offer his services as a mediator between art and people so that they could feel art familiar as they enjoy music in their daily lives. “This is my first time to exhibit my work in Italy. 10 years have passed since I ventured into the world of art and I am so excited to seize the chance to show my artwork in Florence. I can assure you that I am one of the most influential artists in Japan. I catch and express delight, anger, sorrow and comfort which directly reach to people's emotional depth, therefore a lot of people stand still and shed tears in front of my artwork. You'll perceive happiness via smiling faces in the canvas.     And also you'll be able to feel healing power and hope beyond the artwork full of sadness. It was my long-cherished dream to exhibit my artwork in Italy and I can hardly wait to participate in this great event.”

“Amazing Grace” Acrylic, craypas on Canvas 36x36 cm

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January 2013




“Gust” Layered Canvas 137x183 cm

“I have always been aware of, and fascinated by, layers in the natural and built environment,” says Lawrence R. Armstrong. In both two- and three-dimensional works, Armstrong turns that interest in layers into an intriguing take on spatial relationships and how those connections affect the viewer. Some of his paintings, executed in acrylics on aluminum, loop colors and shapes around and through each other to create a sense of three-dimensional space. They also communicate a feeling of movement, with curving lines of color engaging in a kind of dance with the rectangles with which they are juxtaposed. Armstrong employs similar concepts in the literally threedimensional realm. Several works layer canvases and frames of wood, each one building up the structure over the previous layer, with the colors cascading from one level to the next, unifying the levels of space while also creating a dynamic environment that pulls us in. In addition, he makes multi-leveled pieces in glass, in which the layers give off a kaleidoscopic feel while also having a precise, meticulously ordered sense of composition. The glass works also exhibit the same sense of contrast between opaque and translucent colors that is so notable in his paintings. An accomplished architect and designer as well as artist, Armstrong takes the rigor required to create built environments and enlivens it with an organic sense of form and spontaneity in his artistic work.

“Marana AM” Print On Metal 56x71 cm

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January 2013




“L'apparenza” Lambda Print 120x80 cm

“In order to partake successfully in the interconnectedness of the world, one must first become a fully functional part of the whole.” This is how I approach my art: First the piece has to draw the viewer in by itself, then create awareness that it forms part of a larger collaboration. I am inspired by my surroundings – by who I meet, what I see, feel and hear. I work in mixed media on canvas – using collage, acrylics, oil, charcoal, and varnishes. The piece itself decides the medium that I use. My work is conceptual, and every piece represents a journey of its own. I love incorporating symbolism, picking up details from mythology and tribal stories. I like to hide things in my works and connect different parts, so that there is always more to see, however many times you have looked at it. I am inspired by my surroundings, who I meet, what I see, what I feel, what I hear, how things are connected. I am fascinated by the obvious but not so visible idea that we are all soul carriers. While I was studying in London I took the bus to class and I suddenly became aware of the people around me. How there were so many, most of them deep in thought avoiding each other. I am a South African artist living in Munich. I studied Art and Graphic Design at the Vaal University of Technology in Gauteng, South Africa. Afterwards I

“Telling Time” Mixed Media 100x100 cm

was a partner in a small Graphic Design firm for six years. I met my husband, whilst working as an accountant. After his expatriate-contract ended we moved back to Munich. Before I could work here, I had to of course learn German. This provided me with some time and time was what I needed to work through my artist's block. I worked through Julia Cameron's book - The Artist's Way and it all came back.

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“Dream Spirit” Varnish on Copper 76x 94cm

“I would describe myself as a transrealistcontemporary artist. This style, which I have conceived, defines my copper artworks which are the pure reflections of my imagination. They transport you into fantastic worlds where life would be more pleasant. The copper by its eclat and brightness conveys the observer to go deeper than reality. Painting and creating for pleasure, and searching for other realities within life to be and obtain what the outside world cannot offer: Freedom. To describe myself in simplest terms: Painting for me brings me joy.”

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“Dragon woman” Varnish on Copper 76x94cm

January 2013




“Summer Party” Acrylic 51x76 cm

“I have always been enchanted by the masters of art history, and art has been a vital part of my life for a long time. I enjoy creating both realism and abstract art, and in both I try to leave room for the viewer’s imagination to run free – to experience and escape into the moment of my artistic vision. I would like my art to provide the viewer with a kind of getaway, a personal place of enjoyment to which they could escape the everyday journey of life. I love to be free with my color palette and blend this with textures and patterns that give each painting scope as a whole world of inspiration and delight.” “In my art,” says Mark Tomczak, “I always try to leave room for the viewer’s imagination to run free,” and certainly his paintings vividly embody that freedom. The artist says that he enjoys being unrestricted with his color palette, textures and blend methods, and the results are paintings that always carry an element of surprise, whether in the form of an unexpected color or a texture that gives a canvas an extra degree of motion and interest. Tomczak often uses unconventional tools to produce his paintings, a strategy that lends his works a freshness of approach that carries over into their open, inviting ambience. The painter, who lives and works in Hawaii, says that he wants to create “a personal place of enjoyment” for viewers, and his works embody that pleasure.

“August Garden” Acrylic 61x76 cm

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January 2013




“Cityscape series 2 Op.2” Palladium print photographs and oil on canvas 36x43 cm

Rachel Simonson has been called “one to watch” thanks to her insightful way of combining old and new techniques to create her works. S i m o n s o n ’s w o r k f o c u s e s o n interpersonal relationships and relationships people develop with their environment Simonson is able to create portraits and cityscapes that appear at once both familiar and new. This refreshing take is often achieved through old school Palladium Print (UltraViolet photography) mixed with Oil on Canvas. “Travel and exposure to new environments leads to a better understanding of people and places. It is important to ask questions and learn from other people and cultures to become a well-rounded person. I try to combine diverse imagery with paint and media to achieve a new art form. The result is something that viewers can continue to appreciate. I want people to find new areas of interest with each viewing.” Her work has been displayed throughout the art world, including recent exhibitions in New York City, Washington D.C., Minneapolis, West Palm Beach, as well as Dublin, Ireland, and now Florence. Simonson studied at Alfred University, after graduating from Rochester’s School Of The Arts. Her BFA in both Painting and Photography is evident

in her juxtaposition of those two art forms. Silk being her favorite fabric, she started researching ways to paint on it and soon developed her own formula, medium and technique to suit that specific textile. From there on, she started experimenting with painting on leather.

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“Cityscape series 2 Op.1” Palladium print photographs and oil on canvas 36x43 cm

January 2013




“Utopia” Oil on canvas 55X65 cm

Lebanese artist Roula Chreim explains that between extensive traveling in her previous career, and being displaced after her house was destroyed, ''home'' has become a crucial place and idea in her life and work.... As a young artist, she began painting small houses and meadows from her former inspiring town, Salhieh. Throughout her life, Roula has visited more than 135 cities and communities in 37 different countries. This gave her the opportunity to blend with the local cultures and explore the origins of the ART they produce. Accordingly, many of her mixed-media canvas, which frequently incorporate objects found during her extensive travels, portray homes, or inhabitants of other cultures. She paints her figures, interior scenes and cityscapes with an aesthetic that evokes both Symbolism and German Expressionism with fleeting hints of Primitivism, but retains many unique characteristics, such as a preference for rectilinear human figures, buildings and balanced compositions. Roula's passion for colors is reflected in her art. Each of her Abstract works is incredibly elemental having a sublime quality shedding sensuous, romantic composure which convey a rich passion that is compelling. Collectively, her contemporary works are vivid, expressionist paintings that communicate profound feelings to the viewer.

“Sakura” Oil on Canvas 50x60 cm

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January 2013




“Walk away” Mixed media atworks 81x60 cm

“After an atypical course which began with the Fine arts (School of Fine Arts) and the drawing, I entered the world of the media and the graphics arts where I managed several companies. While working in the business world, I found that my eyes was constantly caught by the graffiti and torn posters that adorned the walls i passes. These things are often called « visual pollution » but to me they said «  photography  » and photograph them, first i did. In time, in front of the programmed disappearance, with the arrival of the digital era and the digital display, I began to take some of the old posters as well, and this interest has blossomed into a theme of my work. I want to make something creative and different out of these aspects of everyday life which we so often overlook, and yet which form a part of our lives that cannot be ignored. All the emotions, layers and context of the originals make it into my pieces, with some added understanding that comes from my personal vision. In this way I communicate with, and encourage my audience to engage with, an aspect of life which we

often ignore, in the form of modern and accessible art which stirs our emotions and interest.”

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“Chevreuse-Culture-Week” Mixed media atworks 100x100 cm

January 2013




“Anya's Rose” Oil on Canvas 80x100 cm

“After a 30 year career as a Nurse, my life has took a new path, as an Artist. Recently graduated with a Ba Fine art f ro m W i r r a l M e t ro p o l i t a n College UK, July 2011. Since then I have been working hard to establish and emerge as a professional artist, with representation with a New York art gallery, Lloyd Gill Contemporary Art Gallery, and the Vivid Arts Network. My figurative works are literal and abstract. They concern dissimulation, and how true feelings can be hidden behind a mask. The masks hide any form of identity. Who is behind the mask? The masks enable the wearer to act more freely. I can relate the concept of the masks to everyday life, as everyone wears a mask of some description to hide their feelings, emotions, they wear a mask in a professional capacity or to interact with different people and family. My work reflects my feelings and emotions on life and I hope that this transmits itself to the viewer. On the other hand, interaction is key to my work and what a viewer gets out of a work will vary each time he looks at a painting, depending on what has been

happening that day and his emotional state. Every time is slightly different; every time is newly fresh and relevant.”

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“Hmmm!” Oil on Canvas

January 2013




“In the Night” Oil on Canvas

“I paint with various media, these days mostly with oils on canvas. I love colours and like to have them in my paintings, yet not forgetting how effective and beautiful black and white are. I like to make visual art. I tell stories to spectators about everything in my world. I paint people and pots, flowers and fruits. I try to play with my brush on canvas but still take my work seriously which is not a very easy combination. My training in Chinese Brush Painting effects the composition in my works as well as I identify feelings of animals and plants to feelings of people. I paint with my heart and soul.” For more info visit

“Armony” Oil on Canvas

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January 2013




“Autumn” Oil on Canvas

“My creative work is marked and affected by my being an immigrant who has been uprooted from one country (Brazil) to another (Israel). While trying to accommodate myself to a new place, a new language and a new culture, I found myself attracted by certain species of trees which seemed to me alien to this new landscape, mainly tropical palm trees and Eucalyptuses. These trees where themselves imported from other places for different reasons: the palm trees were meant to decorate and enrich Israeli gardens, visually and aesthetically, while the Eucalyptus played a major role in cultivating the wild land of Israel, as they used to absorb the waters of the many swamps, thus fighting against the Malaria mosquitoes. These trees, mainly Eucalyptus, became a major theme in my paintings, as well as a kind of consolation and encouragement. This is an ongoing source of creation for me, in which I find endless possibilities.”

“Untitled” Oil on Canvas

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January 2013




“Dreaming of flight” Mixed Media on Paper 90x45 cm

“I find that the only path to my fullest expression of the nature of life can only be expressed in the immaculate brush strokes used in the creation of painting birds. The nature of these fascinating creatures is found in their true beauty in that they are constantly moving; their movements are never shy nor are they temperamental. Their constant and unpredictable movements make painting them inevitably intriguing and although all types of birds possess this characteristic, I have found the most passion in expressing my feelings through the specialization of the heron, crane and the goose. Communication is our way of life, but it does not always have to be related to verbal communication. These birds, through their boastful snaps in their wings, communicate power and energy that I emulate onto a canvas. This communication ability, which these majestic creatures have conveyed to me, is the message that I want my viewers to feel and experience when capturing the essence of my paintings.”

For more info visit “Dreaming of flight” Mixed Media on Paper 30x90 cm

January 2013




“Slowly Like Venice I Am Sinking” Oil on Canvas 66x40 cm

Suzanne Anan is an American artist who creates figurative compositions primarily reflecting women as her subject. She creates in all mediums, but prefers the unpredictable results that painting serves to project the humility and vulnerability created with every stroke of oil onto canvas. Her work is inspired by great works of poetry and literature, and her raw material comes from real life and musings. These evocative images resonate moods and memories and question what it means to feel human. Suzanne’s work was selected for inclusion in the Honoring Women’s Rights: Visual Voices Together exhibition to be held at National Steinbeck Center. Anan’s work has recently been shown in a group exhibition at the 80WSE Gallery in New York and was included in a contemporary portrait exhibition in Lecce, Italy featuring the work of Andy Warhol and Xiao Lu. Her work titled “Hard Work Never Killed Anyone” was awarded the President’s Award, by juror Shiva Amadi, titled “From Our Perspective” for a National Arts Exhibition. Anan’s work was also selected by juror, Daniel Shay of the National Gallery of Art in Washington D.C., titled “Strokes of Genius” for her painting titled “Ain’t I A Woman?” Suzanne studied abroad in Venice, Italy and received her Master’s Degree of Art from New York University. She is an Artist Member of the American Artists Professional League of New York and the Salmagundi Club. Her work has been recently added to the private collection of Sir Paul McCartney and Lady Nancy in Sussex, England.

“Hard Work Never Killed Anyone” Oil on Canvas

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January 2013




“Caught in the Act” Acrylic on Canvas 61x76 cm

Drawing upon the visual symbols of Canada’s east coast in a new and u n e x p e c t e d w a y, Ta n i a Doucet creates a world of curiosity, fantasy, and refuge as her otherworldly visions in acrylic paints come alive with blooming vibrancy. As she bends reality with her playful use of surrealism, the artist revitalizes the symbols of the past still proudly remembered by inhabitants of the small island on which she resides. Rather than mourn the erosion of this heritage, Doucet imparts an infectiously whimsical joy that expresses itself as lighthouses gracefully dip, buildings gently sway, and sailboats indulge in a sunset embrace. In so doing, she creates a sanctuary of simplicity and whimsy, where beauty never fades and magic is tangible. Doucet began her artistic career with a style firmly rooted in realism, but found herself unsatisfied and abandoned her work for several years. Later, she returned to art with a renewed vigor as she discovered a more liberated creative vision. Born in New Brunswick, Canada, Tania Doucet now lives and works in Charlottetown, Prince Edward Island and seasonally in Venice, Florida

“The Embrace” Acrylic on Canvas 61x76 cm

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January 2013




“Sleeping cat on Mosaic Blanket” Acrylic on Canvas 61x91 cm

Born and raised in Toronto Ontario, Tina Dadouch is a contemporary and abstract artist. My paintings are acrylic based; I have been painting most of my life, beginning from an early age. My works are usually colorful bright hues, at times reflecting my surroundings and experimentation with objects. After Earning a Bachelor degree at York University, then went on to Parson in New York City. My technique involves spatial and abstract thinking. “I Reason the painting, where I continuously ask myself, question within questions, a process by "connecting and calculative measuring the possibilities "I am trying to solve", in the pursuit of gaining a final result,” that links Form, color, emotions that joins together. My purpose for interpreting object at different angles is to gain a variety of Views, to build abstraction with figures, at times tells a story. In other works” I captures moments. Whether it is for a short time or long period of concentration, painting allows me to pursue ideas without limitations.

“Abstractions of Complication” Acrylic on Canvas 76x76 cm

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January 2013









“Past Times� Acrylic on Canvas

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January 2013



“Explosion of Color” Acrylic on Canvas

An Explosion of Color, and Joy! “The thing about art is sacred to me and now I feel I'm on the move again.” Viggo Carlsen Viggo Carlsen began his career as a young boy when he and a friend drew Cowboys and Indians with real empathy. Nowadays, they would like human figures with their absence in his artwork. He draws his inspiration from nature. As often as he can Viggo is out and about in the woods and fields. Tåkern and Omberg are places that he visits often. On his walks he always has his camera with him and his sketch pad and pencil. “My grandfather who lived in Denmark was also an artist. He taught me many things including the way I would put a shadow image. One has only to follow their own intuitions if you want results and a deviation from the already found can often lead one into the new track. Although if I have to do less successful experiments, the nature of painting lessons as a basis, however, I have gone against the renewal both in form and color, and my study of nature let me now make even

more powerful abstract experiments. Excerpts from Eric Olson, a seeker's journey I would like to have with the nice lines that Erik Olson wrote, I can recognize myself in his assertion.” Over the years, Viggo has shown his works in more than 20 international exhibitions. Viggo has also worked as an illustrator in various magazines and weeklies. - “I am completely self taught and never attended any school of painting, "he says. “There is a lot of everything in these parts. I do not give me away far to find beautiful scenery and birds.” When asked about his inspiration never running short Viggo replies; “No to the Devil, painting can never tired me. It is completely impossible. Everything is fun when you are creating. Today the images are color, joy, warmth, and for the viewer a must stop for every matter. I have recently known to try out more colors, where my creations may be unsuspected forms, there may be reasons that I could not be imagined a few years ago. I'm curious as to what is on the other hand”, says Viggo who adds that when he paints he likes to listen to classical music. ”The thing about art is sacred to me and now I feel I'm on the move again. It's like a poison, or even worse"says Viggo and looks happy.

January 2013




“Red Bike and Blossoms” Ceramic Tile 67x52 cm

“I have been a ceramic artist for over 15 years, initially creating designer home wares. My recent work has concentrated on a varied range of ceramic tile paintings. These paintings have really been inspired by the amazing tile murals that I’ve admired throughout Europe. I feel that my work is a modern day version of this old world ceramic art. I love travel and different cultures, I’m always dreaming of far off places, and creating these artworks takes me away to my favorite places around the world. I am really captivated by an urban landscape, the charming old buildings, beautiful colours and pretty streets. They lead me to wonder about the history of a place, the people who have been there before and events that have taken place. I think that is one reason why I really love the charm of the old buildings and lovely streets and towns in countries like France, Italy or Spain. I also think Sydney, Australia (where I am from) has some beautiful old Terrace houses which have inspired a number of my recent works. I try to create bright, happy and beautiful paintings that reflect wonderful memories and happy times, I hope that other people see that too and it makes them feel good. I have been exhibiting my work in numerous group exhibitions in Australia, as well as a number of solo exhibitions. I’ve been really thrilled with how well my work has been received and this has encouraged me to keep going forward to create larger and more detailed works.”

“Bistro” Ceramic Tile 82 x 67cm

See us in action! Log on to: user/ArtTourIntMAGAZINE And watch our “Art 2 Heart” Interview to this artist.

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January 2013




“A World in the City I-01” Digital Print 76x117 cm

K i m Yo u n g S a m i s a photographer, living both in Long Island City, New York and Busan, Korea. He was born in Busan, Korea in 1978. With unknown etiology, his hearing became profoundly impaired at two years of age. At age three, he began drawing and painting lessons, using visual language as a form of communication. After graduating from high school in Korea, he moved to the New York City to study photography at the School of Visual Arts, graduating in 2002. While working as a commercial photographer in the fashion and advertising industries after graduation, he continued refining his artistic vision and developing his own work. He began exhibiting his work in numerous venues in both the United States and in Korea. Exhibitions in the United States include shows at Emmanuel Fremin Gallery, New York(Chelsea); Sol Art Gallery, Dublin, Ireland; Viridian Gallery, New York, NY; LaGuardia Community College Performing Art Center, New York, NY; Queens Museum of Art, Queens, NY; Hun Gallery, New York, NY; and the KCC Gallery in New Jersey. Korean exhibitions include the Won Gallery, Kwanju; Woobong Art Museum, Daegu; the Incheon Korea and China Art Culture Center, Incheon and the Milal Museum, Seoul among others.

“A World in the City III-03” Digital Print 76x127 cm

Kim traveled to Uganda, South Africa, Zimbabwe, Mozambique and Malawi to participate with the Korea International Organization to help hungry children worldwide in 2011 and 2010. In 2012, he was awarded in the competition of ‘Exhibitions Without Walls for Photographers and Digital Artist’ in the U.S.

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January 2013




“Rising Plateau” Mixed Media on Canvas

Committed to creativity and individuality, Wendy Cohen’s whimsical paintings are inspired by her passionate gusto for life. Cohen’s paintings, boldly colored and elaborately textured, embody her imaginative, nuanced experience of the people, places and nature surrounding her. Through her vivacious abstraction, Cohen whisks the viewer away on a mystical journey into a sensuous, jubilant world. Cohen’s foremost motif is the human face, which she shapes with an animated, lyrical line. Influenced by traditional African masks, as well as modern masters such as Picasso and Pollock, these abstracted human faces come alive through Cohen’s symphony of brushstrokes and saturated color. Cohen states that her “paintings are an authentic journey of all that is fantastical and adventurous.” Undeniably, Cohen’s euphoric imagery urges the viewer to embrace life’s rich experiences. Like a cacophony of laughter, Cohen’s profusely textured canvases compel us to take notice of the pleasures and beauty that surrounds us.   A native of Cape Town, South Africa, Cohen lives and works in Sydney, Australia.

“Luminous Lights” Mixed Media on Canvas

See us in action! Log on to: ArtTourIntMAGAZINE And watch our “Art 2 Heart” Interview to this artist.

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January 2013


“Moves and Shakes” Mixed Media on Canvas


NINA WINTERS The International Award Winning Bronze Sculptor, Has A Reverence For Art As A Communication Tool. “The One Who Learned to Fly” Bronze (wings of sterling silver, copper, parachute material) on a stainless steel base

Nina Winters was born in New York City and schooled at the College of Fine Arts and Architecture at Cornell University, the School of Visual Arts and Parsons School of Design. She later moved to the woods of New Hampshire to immerse herself in nature. She began her career as an artist in the field of paint and color. She made the cross to three-dimensional art after having a vision of monumental sculptures enduring through time as positive communications to society. Today she makes this vision a reality. Nina recently created a 7 1/2' X 9' monumental commission, "The Galactic Samurai/Confrontation of Evil", which was installed at the private residence of the Senior Vice President and Global Chief Technology Officer of PepsiCo. Her work in bronze brings forward her sophisticated

knowledge of the use of color that she developed in her painting years. She uses patinas in both bright and subtle ways to convey the stories she tells of the human potential. Working from her studios on the waterfront of Clearwater, Florida and in the forests of New Ipswich, New Hampshire, she creates sculptures that are unique solutions for corporate, home and hotel architecture as well as monumental works for urban and country environments. Her clients include corporate officials from Paine Webber, the Wall Street Group, and Hiram Walker. Her work is in major collections in the United States, Canada, England and Australia including the private collections of celebrities such as Chick Corea (Grammy Award winning jazz musician), Howard McCrary (Grammy Nominee music producer), Joseph Shabalala (founder and lead singer of the

Grammy Award winning band "Ladysmith Black Mambazo") and David Campbell (Grammy Award and Oscar winning arranger). Her bronze work is featured in the Paramount film "Kiss the Girls" starring Morgan Freeman and Ashley Judd. Q. Could you share how your career began? And more specifically, how your technique evolved? A. I have been creating art all my life. When I was a very young child, my parents gave me a paint kit. From that day on, I knew what I wanted to be an artist. I went to the College of Fine Arts and Architecture at Cornell University, Parsons School of Design, The School of Visual Arts and Hunter Graduate School to continue my education in the arts.  I became an award winning illustrator, gaining clients such as Bantam Books, Columbia Records, Scribner/Antheneum January 2013



“The Galactic Samurai” Bronze on a Black Onyx Base

Publishing, Corporate Finance Magazine, The Plaza Athenee Hotel in N.Y.C. and Northwest Airlines.  One day I had a dream of a monumental sculpture floating in space- withstanding the tests of time. When I woke, I began sculpting and never looked back. Sculpture came naturally to me. Rather than doing sketches of my proposed work, I work directly from clay.  My technique has evolved over the years while keeping the strength of abstract lines and the impact of immediate communication. Q. How does the technique affect your relationship with a piece, its process? A. Abstract lines and the power of the communication are of equal importance to me. First comes the concept, followed by swift implementation in clay. As the material process evolves, the "soul" of the piece comes to life and dictates the final product. Q. What are some of your influences? A. I've always loved the joie de vivre of Niki de Saint Phalle's work and would love to do a water park as she did in Paris. I also love the smooth, rounded forms of Botero's sculptures. Years ago I met Zúñiga and he became a mentor for me. My Galactic

“Great With Child” Bronze Sculpture

Trinity of "Exhilaration", "Earth Protector" and "Creation" were inspired by his sculpture, "Three Women Walking". Recently, I have been incorporating flowing drapery into my pieces. The Italian sculptor Bernini has been a major influence in this area. Also, growing up in an age when architecture became extremely sleek and minimalist, I felt strongly that the "soul" of many buildings was lost. It became my mission to put the "soul" back into modern architecture through my monumental sculptures. Q. How do you conceptualize your images? Do you draw on memories , or from individuals? A. I am fortunate to be able to open the door to an infinite grab bag of concepts and images at will, pick one, and mentally create with it for a few dayschanging it, looking at it from different points of view and working with it's proportions, color and size. I then work with the clay, and at a certain point, it takes on a life of it's own and creates itself.  Q. How would you define the relationship between your art and nature? What elements of the world around inspire you and your work the most?

“Above it All” Bronze on a stainless steel sphere and base

A. My sculptures have a very close connection with the natural world. The two most important elements of the environment that I frequently incorporate in my art are the designs that I see in the wind, as with my sculptures "Trouble on Thunder Mountain", "Freedom Angel", "African Queen", "Angel de la Vida", "The Galactic Samurai" and "The One Who Learned to Fly", and the power of lightning, as with "Earth Protector", "Creation", "Exhilaration", my "Dragon Door Handle" series and "The Galactic Samurai". A number of my sculptures also Cont. Next page

January 2013



incorporate spheres of blue, referencing the globe or the universe. Q. What do you hope the viewer will take away from your artworks? A. The message that an individual can be greater than he is led to believe.  Q. What is your family background? Were there any artists or creative types in the family? A. I grew up in New York City in a family rooted to the arts. My father played the electric slide guitar on the radio, banjo ukelele, tap danced and was an incredible draftsman. His sister was a major Vaudville star, and his mother was a dress designer in Vienna. I was encouraged throughout my life to reach for my goals and was always supported in my decision to be an artist.  Q. What are you currently working on? A. I am currently finishing some new bronze pieces at my foundry and I am enlarging many of my current pieces in bronze coated polyurea. I have also just completed my first line of glass sculptures.

This summer I plan to create a monumental abstracted "Freedom Angel" in steel. Q. What upcoming series, projects, shows etc do you have coming up? A. I have a schedule of shows in Florida throughout Winter. I am also the featured artist at the Rebecca Low Gallery in Fort Worth, Texas and am exhibiting my work at Dolphin Galleries in Maui, HI. I am working on an architectural bronze and glass sculpture for a large corporation. I have plans to make a monumental freedom sculpture incorporating recycled war planes and I am also working with a non-profit organization to create the first of many monumental sculptural peace parks for and with children. At the end of March, I will the featured sculptor for the "In The Mids" Art of Innovations Exhibition by Vivid Arts Network at the Auditorium al Duomo in Florence, Italy.  For more information: See us in action! Log on to: And watch our “Art 2 Heart” Interview with Nina Winters

Andy Warhol & Takashi Murakami Pop Art masters show at BYU Museum of Art By Brian Staker, Provo - Utah Since Andy Warhol emerged as one of the first of the new breed of “art celebrities” in the 1960s, his artwork and aesthetic has had a profound and widespread influence not just on the art world, but on the way people think about art. His celebrity was as much about the hip New York art scene and “happenings” of which he was a part as it was about the actual works he created, although they had an incredible impact as well. Work by Warhol and Japanese artist Takashi Murakami from the Freedman Family Collection and the BYU Museum of Art is being exhibited by the museum. The exhibition, titled Think Flat, looks at the impact of not only Warhol’s work, but his ideas, and those of Murakami, who is creating work in the same vein. The term “Flatness” embodies not just the flattening of perspective utilized by Pop Art as well as abstraction, but also a flattening of the structural differences between different levels of culture, economic levels, and high and low art. Known for appropriating the visual

language of advertising and commerce, Warhol’s best-loved works use things like the Campbell’s Soup logo and Brillo pad boxes. At the opening of the exhibit Sept. 7, visitors could dress in Jpop wigs and ’60s attire in a photo booth like it was Warhol’s Factory all over again. Silver balloons added a Warhol touch as well. Jeff Lambson, curator of contemporary art at BYU, explains the connection between Warhol and Murakami, often called the “Warhol of Japan”: “While it’s true that Murakami deals with many of the themes explored by Warhol in the ’60s and ’70s —such as consumerism, pop culture, repetition and the market—he is doing it in a way that is unique to our modern world.” Warhol’s work didn’t just reflect and comment on the world he saw; it served to point the direction the world was heading. “We live in the world Warhol predicted 50 years ago,” Lambson says, “where everyone can have their 15 minutes of fame through Facebook, blogging, reality television or January 2013


ARTTOUR INTERNATIONAL ANNIVERSARY ISSUE publicity stunts. Murakami is a product of this world Warhol helped create, and while some of his themes are similar, they are deeper and more complex because they exist in the future Warhol created and predicted.” Murakami’s work extends Warhol’s aesthetic into what he calls the “superflat” present, using images from Japanese anime and consumer culture. Lambson notes, “While Murakami’s work is about fantasy and consumerism, it also comes with a warning that was not as implicit in Warhol’s work: Murakami also uncovers the paradoxes inherent in our new, ‘flat’ world, and the delights and perils that accompany it. If we become too transfixed with this fantastical world, we can become detached from reality and in the search for something better, lose touch with what matters.” Although he may be most closely associated with commenting on the commercialization of society, Warhol was one of the first

postmodern art celebrities. His work in the long run served to celebrate the stratification of American culture in the form of celebrity worship, and merely reorder the hierarchy of the art world’s iconic images. High art learned to incorporate irony in its usage of mainstream consumer iconography, and those not in the “scene” still found it just as hard to get into the right parties. Murakami’s work acknowledges that in the virtual world, there is no “scene” anymore; the world is decentralized when there is no more locus of control or “art capitol” the way Paris or New York in the past used to be. His mixed-media pieces partake of that sense of disequilibrium, and don’t have the sense of comfort of a Warhol Campbell’s soup can. As much as Murakami might use a familiar anime character or Mickey Mouse image, there is a sense of existential foreboding that Warhol’s work didn’t have. But Warhol was that rare artist who not only changed the

way we view the world; his work came at the Marshall McLuhanesque moment when he was able to become one of the dominant presences that helped bring about the consumer culture we live in today. “Warhol was creating art during the rise of the middle class, when industrialization was making many luxury items affordable and available to more people,” Lambson says. “Fifty years later, we are in a much different world, where things are cheap and don’t have lasting value. We are constantly bombarded by ‘things’ in the real world and the virtual world, and Murakami’s work is about navigating that space—taking advantage of it, but also sometimes doing it with wariness and caution.” THINK FLAT: THE ART OF ANDY WARHOL & TAKASHI MURAKAMI BYU Museum of Art North Campus Drive, Provo - Utah 801-422-8287 Through Feb. 18, 2013 Free Admission

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Costume Colloquium



PAST DRESS FUTURE FASHION 8-11 November 2012 Fashion” Firenze , “PastFlorence Dress - Future Life Beyond Tourism Auditorium al Duomo

the ® third edition of Costume Colloquium (CCIII), promoted by the Fondazione Romualdo Del Bianco® - Life Beyond Tourism® and by the Associazione Amici della Galleria del Fondazione Romualdo Del Bianco Associazione Amici Costume di Palazzo Pitti, November 8-11. Life Beyond Tourism took place della Gallerialast del Costume CCIII attendees were welcomed to Florence on November 7th, with an organized “vintage crawl” through the streets of downtown Florence and at the conclusion of their passeggiata, they arrived at UB, an eclectic and unique vintage store, for a welcoming cocktail party. The congenial atmosphere together with a beautiful array of appetizers and wine was the perfect preface to the conference. The three days of academic sessions at the Auditorium al Duomo were filled with a line-up of fascinating, stimulating and, at times, provocative papers which allowed participants the opportunity to exchange information and ideas on various levels and topics. Presentation were given by 40 speakers representing institutions and professions of the highest caliber and the conference was attended by 160 participants representing 22 countries from around the world. Each day was capped off with an exciting and exclusive private visit to locations around Florence. Day One featured a tour and fashionable cocktail reception at the newly opened Museo Gucci in Piazza della Signoria. The evening was magical and the lively conversations among participants set the tone for the days to come. Day Two ended with an overview of the exhibition of the Galleria del Costume at the Pitti Palace where we were treated to a private tour of the galleries.   A special selection of costumes owned by the late, Anna Piaggi, to which the director of the museum, Caterina Chiarelli made an homage, was also on view. Also, of particular interest to participants, was the display of the Medici burial clothes. and an overview of many of the details of the conservation was given by the project’s conservator, Mary Westerman Bulgarella. The final day of lectures at the Auditiorium al Duomo culminated with Daniela Degl’Innocenti, curator of ®


the Museo del Tessuto of Prato who gave an introductory presentation of the museum’s upcoming vintage exhibition, and she also described the Giovanni Masi Vintage Archive. The director of the Museo del Palazzo Davanzati, Brunella Teodori, followed with a presentation of that museum. Then, from the Auditorium al Duomo, we walked to the beautifully restored Palazzo Davanzati where we enjoyed a private museum visit, sublime views from the rooftop loggia and a sumptuous reception in the courtyard. Sunday we headed to Prato, stopping first at the enormous warehouse of the Giovanni Masi Vintage Archive. Here, participants had a firsthand look at what the “rags” business is really all about while rummaging through the endless bails of used clothing. From here, we travelled into the historic center of Prato to the newly renovated Textile Museum where we could freely visit new installations, view the conservation laboratory and didactic displays, watch a 3-D film of fabric production. The excursion to Prato concluded with a lovely farewell reception where we bid each other “arrivederci” until 2014, to the “Costume Colloquium IV: Color in Fashion / Colore e Moda”! For more information and to see all the photos:!

January 2013



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P o i n t i l l i s m




"Nothing on this earth is solitary everything is connected. Pointillism allows me this exploration”

“Forest Canopy - Summer” Acrylic on Canvas “Spirit II” Acrylic on Canvas

“Forest Canopy - Spring” Acrylic on Canvas

“Forest Canopy - Winter” Acrylic on Canvas

“Forest Canopy - Autumn” Acrylic on Canvas

“The only brushstroke in my paintings is a dot: some have referred to this as a contemporary pointillist style. As the artist, I simply allow the dots to be what they are for what they need to do without regard for definitions. The motivation in my paintings is to express how much it matters for all things to be in harmony. Nothing on this earth is solitary, everything in connected: the mingling layers of dots share this meditation. The subject matter is landscape: rural and urban, as this is what we all experience in our daily lives: a common experience for everyone but not so much to capture what is seen as more to foster meditations on the unknowns in what we see.” Jim Pescott brings soothing visual meditations to the canvas. His unique pointillist journeys explore what is so often available to everyone but seldom visited in our daily frantic lifestyles. Dots fill Jim’s paintings with light, energy and love to bring the viewer precious opportunities to dwell peacefully within the image and allow calm to fill their spirit.”

Jim is available for interviews and media contact, and consultations. Calgary, Alberta, Canada Phone: 403-870-0591   Email:


ATIM Two Thumbs Up!!! These artists are worth keeping an eye on!











FRANS FRENGEN www.allart-­‐






www.jeannifercon; JERRY ROSS h<p://jerryrosspi< KISHORE  M.  SALI­‐ ar;st KYLE  TOTH

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.Anniversary Issue featurng Fernando Botero, Yayoi Kusami, Andy Warhol, Takashi Murakami, Nina Winters, International Exhibition Cutting Edg...


.Anniversary Issue featurng Fernando Botero, Yayoi Kusami, Andy Warhol, Takashi Murakami, Nina Winters, International Exhibition Cutting Edg...