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“Influx, Sparrows in the Louvre” by Michael Dumas


2013 Curated by Viviana Puello Designed and Published by Arttour International Publications

ATIM’S TOP 60 MASTERS OF CONTEMPORARY ART 2013 Curated by: Viviana Puello

Front Cover: “Influx, Sparrows in the Louvre” Oil on Russian Birch by Michael Dumas

Back Cover: Artwork: “Emerge” Photograph by Suzanne Duncan Cover Designed by: Humberto Orozco Designed & Published by Arttour International Publications Inc. 601 W. 174th Street S 4C New York, NY 10033

WWW.ARTTOURINTERNATIONAL.COM © Copyright 2013 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. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent publisher. First published in USA 2013 by Arttour International Magazine ISBN 978-0-9852242-7-1 Designed by Arttour International Publications

“Summer Rain” Acrylic on Canvas by Master Painter Fabian Perez














































































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CONTRIBUTORS 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. CONTRIBUTING WRITERS:

Yadi Roman - New York - USA 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 Fernando Botero’s Article & Interview 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. ALAN GRIMANDI Graphic Director Video Producer HUMBERTO J. OROZCO Web Developer & Publicist ARTTOUR INTERNATIONAL PUBLICATIONS INC. Distribution & Marketing ATIM WEB TV Online Broadcast & Presentation

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.


ABOUT THE CURATOR An internationally-acclaimed artist, curator, painter, writer and activist, Viviana Puello is highly recognized for her work as the diligent Art Director of the acclaimed ArtTour International Magazine - a prestigious publication that, issue after issue, is winning the hearts of so many artists and taking the art world by storm. Viviana Puello has worked as an artist and curator for over 20 years and is also the founder of the Vivid Arts Network, an international art organization that serves as a platform for professional and emerging artists looking to receive international exposure. With Vivid Arts Network, Puello’s efforts as an activist for the cause of abolishing human trafficking are directed towards helping ECPAT International - an association that helps heal victims and creates programs for the prevention of this crippling social issue ( In 2011, Puello founded ArtTour International Magazine; after 10 months of research and preparation made possible with the help of her creative team, the first issue of the magazine was published in December 2011 and distributed to fifteen hundred readers and artist friends. Today, ArtTour International Magazine has over 2 million readers and is present in over 60 countries - an accomplishment that Puello attributes to the great crew of people behind the publication and the great network of artists that take part in each issue. Puello splits her time between Italy and her beloved New York, the city in which she gained experience while working for a notable TV Station. After founding ArtTour International Magazine and seeing its great success, Puello founded the ATIM WEB TV Channel where she uses her past experience in journalism and communications to expose contemporary artists through the live broadcasting of events and the “Art 2 Heart” interviews she does while traveling with her team. Viviana Puello started her career as an artist in her native Colombia at a very early age; growing up in Cartagena, a bohemian city that kisses the Atlantic Ocean, art was always an essential part of her early life. Puello started painting at the age of twelve, surprising everyone with her talent. Her works were initially inspired by Colombian artists whom she looked up to like Fernando Botero and Alejandro Obregon. Puello is collected internationally and has premiered in film, television, and theatre. She lives and works in Ferrara Italy with her husband, Alan Grimandi, COdirector of the Vivid Arts Network organization and Video Producer for the ATIM WEB TV Channel. Puello enjoys painting, writing, traveling and, in her spare time, working on her farm where she can enjoy quiet respites in between her trips. Puello has two children both of whom are college students and one of which is in the creative industry herself. In her new painting series, “The Tempest,” you can find portraits of her loved ones in the faces of the characters in Shakespeare’s play. VIiviana can be contacted at her website,, or through her email address:

FOREWORD We here at ATIM are ecstatic to introduce to the public a highly-anticipated and ground-breaking new publication – a testament to our dedication and involvement with some of the most talented and inspiring artists operating in the world today; this publication is our Top 60 Masters of Contemporary Art 2013 catalogue! We have had the privilege of working with such an incredible array of magnificent artists since our very first issue. Masters such as Fernando Botero, Fabian Perez, Rafael Espitia, Chris Dellorco and Belarmino Miranda Montoya have helped this magazine to look like a masterpiece in itself, featuring works by these incredible artists on the covers as well as within, so that even mere glances through the pages transport you into a colorful world of delicate artistic brilliance, rendered from the imaginations of these wonderful creators. These artists, and so many more, have given their time and energy to provide us with interviews, art, and glimpses into their processes which our readers have greatly adored – and for that, we at ATIM have decided to at last pay tribute to such generosity and talent. The purpose of this catalogue is to honor the artists who have contributed over the years and taken part in previous issues to help make ATIM what it truly is. Without such amazing contributors, who knows where we would be? On top of our amazing past contributors, as if their involvement alone was not enough for this publication, this catalogue also includes a myriad of talented artists specifically chosen by us from over 5,500 artistic submissions. These selected artists demonstrate the outstanding quality and incredible zeal that sets ATIM contributors apart from others – the dedication, drive and fascinating technique that astound our readers. If you are a collector, curator or gallery owner, these artists that we have carefully selected are artists that you might want to keep an eye on – who knows where the future will lead them? This edition is especially unique in its design aspects; whereas most magazines are collaborative efforts among the crew of the publication alone, this edition has been designed with meticulous feedback and involvement from each artist who is contributing, in regards to how their specific page should look and be laid out – an unorthodox method, but yet another reason why ATIM values its astounding artists and is so loved by the public. From the front cover reminiscent of the style of the classical masters by Michael Dumas with his work “Influx”, to the back cover which leans more towards modernism in the photography “Emerge” by Suzanne Duncan, and throughout the interior which was organized overall by ATIM’s Graphic Designer Alan Grimandi, this special edition catalogue is brimming with the creations of some of the world’s most aweinspiring artists – an eclectic mixture that is sure to be enjoyed by everyone! A video presentation and a behind-the-scenes expose will be featured on the ATIM Web TV channel to show our readers the immense amounts of work and dedication that it takes to complete such an endeavor as the compilation of this catalogue. Stay tuned and watch for the video on June 25th, 2013!

Cody La Vada, May 2013 Managing Editor & Resident Writer

Arttour International Magazine Editing Department



PREFACE No words can describe the privilege, honor and absolute joy of being in touch with so many wonderful creators! I believe artists to be divine creatures, worth all of our respect. This publication is not a list of artists or a collection of works thrown by accident into the pages of an art book; this publication is a celebration of love – or, better yet, in the words of the Colombian master, Belarmino Miranda: “Solo amor y arte” – “just love and art.” This is a celebration of years of work and dedication in the lives of a group of individuals that have turned their passion into their careers. Beyond beauty, aesthetics and techniques - beyond any illusionary perfection - lies their reality. It is not perfection that causes the meeting between creation and creator, nor our trivial, egotistical pursuit to do better than one another; something amazing happens when the creator gives himself over completely and surrenders to love, the painter becoming one with the canvas, the sculptors fusing with the stone. Art happens when the artist lets the masterpiece reveal itself. Then there is the fusion of the two, with no one leading - just two becoming one, just love and art in a vast universe. That is how masters work and how masterpieces are created, more often than not; the masterpiece outlives the master and remains as a testament to the miracle that once took place, when creation brought to life a creator and when the creator produced what the world considers a precious gift. “What no eye has seen, what no ear has heard, and what no human mind has conceived . . . ” 1 Co.2:9

Viviana C. Puello, Florence, - May 2013 Curator & Art Director

Arttour International Magazine Art Department



“Mill Cloth” Oil 6.75 x7 I am very much attracted to things that express the simple harmony of the everyday. In a shed behind Bellamy’s mill, two common house sparrows perch on a pile of discarded flour sacks. Some areas of the cloth are ablaze in full sunlight, while others are only softly illuminated; the rest drop back into deep darkness. Oh, beautiful! There are many people who pass by, but no one seems to notice.

“Le Voyageur” Oil 7x5 Inspiration for a painting can come unexpectedly, and sometimes with surprising force. The model for this painting is Jeremy Ward from the Canadian Canoe Museum, someone who has immersed himself to a remarkable degree in the lore of the voyageur. When dressed the part he convincingly BECOMES one of the hardened men who made the early North American fur trade a reality. Somewhere in the indefinable but readily sensed impression of what it must have felt like to be one of these men lies the inspiration and directional force behind the painting.

Opposite Page: ” Gypsy Oil 7x5 The subject for this painting was observed in the city of Arles, France, just inside the entrance of a narrow side street that accessed the central square. Here, beyond the hive of activity and bustle was a moment conducive to quiet contemplation of inner thoughts. This was made all the more possible by the watchful proximity of his fourfooted companion, who undoubtedly would warn of the approach of any stranger. I pushed the thread of this idea as far as I could, placing the dog between any observer and his master. With his gaze directed straight at the viewer, there is little doubt of the dog's unwavering diligence. As a last touch, I added an arched shadow into the space at upper right, hoping to enhance the idea of a protective space. This shape was inspired by observing its real-life counterpart in the many access points of the old Roman coliseum just a couple streets away.


Gypsy Oil 7x5 by Michael Dumas

ATIM’S TOP 60 MASTERS OF CONTEMPORARY ART Flight of the Kestrel Oil 8x12 I painted Flight of the Kestrel working directly from specimens, a practice that prompts a very intimate response to both the visual and tactile qualities of the subject. Having observed kestrels in flight many times, I had a working memory-impression that directed the angle and posture seen in the final image. This combining of in-hand visual reference and the insights gleaned from direct field experience provided an extremely rich environment in which to create something both informative and imaginative.

MICHAEL DUMAS ‘The fundamental character of my art lies in the intent to both gain and reveal insight based on direct personal experience. With this comes the necessity to reveal some truth in the underlying nature of not only what has been seen but something of what is felt in the seeing. Every drawing or painting inevitably has something to do with the individual; it’s not simply about what is being depicted in and of itself. There are innumerable things one can choose to paint, that is, the objects themselves; but the underlying purpose of creating has to do with conveying something about why those objects inspire attention in the first place. The greater the connection, the more insightful the work will be, the more truth it will reveal, and not just about the thing painted but about the artist as well. This essential question of balance requires that one not over do or under do, but to do it just on the line. It is such a fragile thing though, and can so easily be lost. Our visual experience combines the perceiving through both the eyes and the mind. We are creatures given to personal biases and are easily prone to exaggeration, to emphasize things that we feel are crucial, while at the same time blithely dismiss much as being of little importance. It’s a wishful desire on the part of the painter that the viewer will recognize that in order to convey a convincing sense of reality one must avoid being strictly literal. In the general course of things, however, it must remain sufficient that the viewer simply believes what you are saying.” Michael Dumas

Michael Dumas was born in Whitney, Ontario, adjacent to Algonquin Park’s 7725 square kilometers of wilderness. He worked several years as a forest ranger in the park’s interior to pay for his art education at Humber College of Art in Toronto. Upon graduation he apprenticed with master painter Lewis Parker, and has been a full time artist since 1974. His art has been displayed in such notable Canadian institutions as the National Museum of Canada, the McMichael Canadian Collection, and the Royal Ontario Museum. Michael’s artwork abroad has enjoyed inclusion in such notable collections as the Suntory Museum of Art – Japan, The International Museum of Art Inspired by Nature – England, and Spannierman Gallery – NYC. He is listed in many biographical reference volumes, including Who’s Who in Canada, Who’s Who in America, Who’s Who in the World, and the International Register of Profiles. The artwork of Michael Dumas has been featured in both books and magazines, on Canadian postage stamps and commemorative coins produced by the Royal Canadian Mint. He is the subject of several film documentaries both in Canada and PBS television in the USA. Michael is the recipient of many awards for both his accomplishments in the visual arts and the use of his art and writing in support of numerous conservation and charitable causes worldwide. Contact Information: e-mail:



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.

“Quest For Peace” Oil 7x9 When my father died I inherited his medals from World War II, along with a personal journal and a few small items he always kept with him. At some point I began to relate these items and what they signified, with some drawings I’d done of a winged victory sculpture. Included in a few of these drawings were figures of white doves in flight, and collectively these elements suggested the concept developed in Quest for Peace, including three elements necessary to that achievement. Truth: Valuing fact over dogma, Beauty: In the sense of a unifying harmony, and Reason: Assessing objectively.

Trust Oil 16x10 Tiny house sparrows made there way amongst the teams of enormous draft horses, foraging on the ground, sometimes alighting on the huge beasts themselves, and all the while exhibiting what I could only describe as unlimited trust and confidence. The immense disparity in sizes between these creatures, and that altogether wonderful posture of a particular horse resting one huge and ponderous leg upon the other, impressed me through and through. In the painting of this piece, there was a need to show these size differences, the relationships between the creatures occupying the space, the weight of the horse, even the sense of that weight beyond the upper confines of what is shown. There is the obvious connection between the posture of the male sparrow and his awareness of the heavy mass of that suspended hoof. Less obvious, but crucial to the concept, is the nonchalant attitude of the little female who goes about her business of foraging for seeds with no concern whatsoever as to the giant at whose feet she dines.




“Underwater Fairytale” Photograph by Suzanne Duncan

Photographer and creative director, Suzanne Duncan, has not only worked across the world’s seven continents, but has also had her work published in some of photography’s most important book collections. Suzanne works across the globe continually moving between Sydney, Los Angeles and New York to capture the perfect picture for countless fashion magazines such as Vogue Italia, Elle and Cosmopolitan. Also works with top modeling agencies including Ford Models NYC. Having exhibited in Australia and USA she is now debuting her work in Europe. Originally from Newcastle, Australia, she didn’t always know she wanted to be a photographer. Working as a makeup artist and designing photo shoots, she would never receive credit for her work, until one day she decided to learn photography with a private tutor. After just having two lessons and buying her camera, she was asked to photograph Australian designer Corston


“Emerge” Photograph by Suzanne Duncan

Couture’s new collection. Six months after completing her studies, she received her first front page cover Hunter Lifestyle Magazine and since then she has been featured in many magazines. As an internationally recognized photographer, Suzanne’s work has featured in both Important World Artist and International Masters of Photography. Her international career was launched when her earlier work “Timeless Beauty” was named as a finalist in the coveted ‘Black and White Spider Awards’. As an artist, Suzanne’s imagination would see her dream up powerful images of strong and inspirational females who have stories to tell and secrets to keep by bringing these images to life by capturing the power, sensuality and vibrancy that all females possess and turn these images into photographic art. Each of Suzanne’s photographs start with a small idea, which she starts developing further by building a unique story behind each subject she photographs. With the desire to create timeless photographs, Suzanne looks to meld

her personal photographic touch with new ways of shooting. Shooting using predominately natural light, Suzanne likes to explore the interplay between black and white and full colour and the effects the colour schemes play on the emotions portrayed through each artwork. “I like to take photographs which inspire people and which allow them to really get lost in the image and to create their own story around the subject ,” said Suzanne. “I come alive when I exhibit and hear people talking about my work and what they think the subject’s story is. I am always interested to hear where my photographs take people as a picture says a thousand words but only stakes seconds to snap,” concluded Suzanne. Email:



MARK TOMCZAK WWW.MARKTOMCZAK.COM About the artist . . . “I was born and raised in Western New York into a very artistic and musically talented family. Not having a creative bone in my body, I was always amazed with my Uncle’s talent both in painting and in playing music. I can remember telling my Dad, “if I could only paint and play music like him, my life would be complete!” At the age of 13, shortly after the passing of my uncle, I began to feel the urge to paint and to experiment with different media, genres and techniques. It was also around that time I began to learn to play and read music, which is now one of my favorite things to do in my spare time. My parents did everything to keep me focused on painting and in music. In the early 80’s I relocated to Southern California to get away from the cold winters and pursue a career in the heavy duty engine parts business. Cont. Next page

Opposite Page: “Weekend Rapture” Acrylic on Canvas 20”x30” Below: “Sunset Party” Acrylic on Canvas 22”x28”




“Summer Garden” Acrylic on Canvas by Mark Tomczak

There, between business trips, I continued to paint while concentrating on a more realistic style in my landscape, floral and wildlife pieces. By the year 2000, and I was in search of a destination to live that offered a more peaceful, and less hectic lifestyle. This I found, here in Kona, on the Island of Hawai’i. Here the slower pace of life, in a quaint country setting allows for a more conducive environment for creativity. I have recently found enjoyment in a new more abstract style of work incorporating vibrant colors with a unique flow or rhythm to this newly ventured style. In the recent months I started searching for a different way or media to present my work and was able to develop a unique method for painting on crystal. These “orbs” have created a venue for me to create original beach and sunset scenes that allow the viewer to experience and enjoy their “private



beach” in a truly original setting, giving locals and visitors alike something to admire. “I cannot express the feeling I get, when someone looks at my work and is captivated by something they see in it. This is, the ultimate reward to me as an artist!” Sharing my talent knowing it can create an escape of excitement or tranquility makes it all worthwhile! I welcome you to my world of art!

“Always be on the lookout for the presence of wonder.� ~E.B. White



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.


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




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.”


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


ATIM’S TOP 60 MASTERS OF CONTEMPORARY ART 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 G a l l e r y i n Wa s h i n g t o n D. C . a n d a t T h e 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


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 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. 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

Fernando Botero at Medellín.

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.

Juan David Aguilar Botero ATIM’s 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.


ATIM’S TOP 60 MASTERS OF CONTEMPORARY ART “To Be On Cloud Nine” by Astrid Jacobs

ASTRID JACOBS Born in Hamburg, Germany, graduated from the Art Academy in Hamburg. She worked in many publishing houses and afterwards as art director in advertising agencies. In 1993 she moved to New York, where she worked at the “Barrett-House” art-gallery and art school. Since 1998 she has her own studio in Munich, Germany and is working as a freelance artist. Exhibitions at: the International Exhibition BIB in Bratislava/Slovakia; the International Exhibition in Branzolo/Italy; the museum Carolinensiel/Germany; the International Contemporary Art Exhibition, "Symphony of Colors" in London / La Galleria Pall Mall, Dec. 2012 Published at: BIB, Bienale Illustraci Bratislava, Ministry of Culture of the Slovak Republic; Lexikon der zeitgenössischen Illustratoren, Dokumentationszentrum für Zeitgenössische Illustration, Branzoll, Italy; Drawing Dream Foundation, San Francico, CA, USA; World Wide Art Books of "International Contemporary Masters", Santa Barbara, CA,USA. Email:




“Come Fly with Me” by Astrid Jacobs

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.

“Light And Breezy” by Astrid Jacobs



BARBARA PALKA WINEK WWW.PALKAWINEK.ART.PL She was born in Upper Silesia and comes from an artistic family. Graduated from the Academy of Fine Arts in Krakow, Department of Painting. She studied in the studios of professors Szancenbach, Brzozowski and Buczek. She graduated in 1983. Deal with easel painting, watercolor, monotype and photography. Her painting is characterized by seeking and experiments on matter and form an image. It is important for her painting technology improved and enriched by their experience and even lead to the development of its own technology. She enjoys working cycles. It fascinated by Carl Gustav Jung's personality. Merger his philosophy of psychologią depth and metaphysics. Particularly important are the issues of archetypes. In particular, the archetype of the "Great Mother", "Shadow", "Self". She is interested in aspects of mind and self. Combined with the Absolute Self. I'm working on a few cycles that complement each other and form as a result of the full scale of its feelings and experiences. Barbara Lives and works in Krakow. Her children have gone the same way, also ending the Academy of Fine Arts.

“OBSESIONS” 55.1”X39.3” by Barbara Palka Winek

“SCREENS_P”_ 55.1”X78.4” by Barbara Palka Winek




“MOTHERARCHETYPE II 55.1”X39.3” by Barbara Palka Winek


Opera Gallery, Budapest-—” Selected Artists from Poland” 2009 Opera Gallery, Budapest- —” European Contemporary Party” 2009 ART FAIRS INTERNATIONAL, New York 2010 Southern Nevada Museum of Fine Art, Las Vegas, International Contemporary Masters 2010 2010 Agora Gallery, New York —”Enigmatic Realms” 2010 Raven Gallery, Cracow, individual exhibition „Intimate wibration of plants” - monotypes 2011 Artspace Galleries, Paris, London, group exhibition 2011 Florence Biennale, Florence 2012 Ward Nasse Gallery, New York, group exhibition 2012 Effecto Biennale”, Merida, Mexico 2012 Art Galleries Europe, Paris, group exhibition 2012 MOYA, Vienna, „Spirit of Art”, group exhibition 2012 Artists Haven Gallery, F. Lauderdale, Floryda, individual exhibition „Fantasmamorphes” - monotypes 2012 Marzia Frozen Gallery, Berlin, „Another Criteria”, group exhibition 2013 Art Galleries Europe, London, group exhibition 2013 Ward-Nasse Gallery, New York, group exhibition 2013 LONDON BIENNALE, London 2013 GAGLIARDI GALLERY, London, group exhibition 2013 ART EXPO, New York 2013 PALACE OF ART, Krakow, large individual exhibition 2013 ART EXPO, Krakow 2009 ARTIS LAUDABILIS award, The Europa Authentica Cultural Organization, 03.05.2009 Budapest Artworks are in collections of the Diocesan Museum in Katowice, Southern NevadaMuseum of Modern Art, Las Vegas.




“Network” Acrylic on Canvas 47.2”X78.7”

perception in the end phase of the veiling process through White. This method often transforms the painting into a poetic, dreamy and mysterious world that still foreshadows the things behind. For the observer it is exciting to discover the hidden  worlds behind the White.

Metamorphosis through „The Colour White“ Friedhard Meyer actually in his paintings is working with Ve i l i n g Te c h n i q u e s . H e discovered the colour White as the noblest and most elegant method of veiling the subjects of his paintings. White is able to cover up or to unveil what lies beneath. Thus Friedhard Meyer has complete control over the things he would like to reveal openly and those he prefers hidden away in the deeper layers of paint. He moves between methods that veil things through abstraction and others that make them visible through representation. In these paintings a colourful basis is gradually erased by White, until only a little of the colour is visible ( sometimes more, sometimes less ).The colours particularly are shining behind the White. The nobless of White is shown. This process is that of a metamorphosis through “The Colour White”.It is going along with the change from a colourful lively abstract or figurative prepainting to a more harmonious and calm 

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“DC Motor” Acrylic on Canvas 31.7”X39.3”

International Participations 15. Europ`ART Geneve , Switzerland Art Fair Salzburg, Austria 2007 Gallery Thuillier , Paris , France Art Fair Stockholm, Sveden Art Innsbruck, Austria ARTEXPO New York, USA 2008 Art Fair Shanghai, China 2010 LDX-Gallery, Beijing, China Opera Gallery, Budapest, Ungary 2007-2011 Group exhibitions with “Colectivo Cillero” in: Madrid, Baignes, Albacete, 2011 Art Taipei, Taiwan LDX-Gallery, Beijing, China 2012 Art Palm Beach, Florida Art Taipei, Taiwan 2013 Art Beijing, China Florence Design Week Exhibition, Florence, Italy Biennale of Chianciano, Italy 2006

“Eden” Acrylic on Canvas 23.6”X31.7”

Awards First Price of the Palm Art Award, Art-Domain Gallery , Leipzig , Germany 2010 Diploma of Excellence, Art Now, Artoteque, London 2013 Special Recognition, 4. Art Contest, Artavita 2005

Contact information Address: Martin-Luther-Strasse 26A 97616 Bad Neustadt Germany e-mail: Tel.: +49 9771-7891 Website: “Magnum” Acrylic on Canvas 31.7”X39.3”

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“I see myself as a journalist, describing life in colors instead of words. More and more I feel fascinated by the fusion of the new virtual dimensions and good old reality: The huge influence of the cyberworld on each and every area of our thoughts and our feelings.” “Curriculum Vitae” Oil on Canvas 25.5”X29.5”

commercial goal. Much of what is described and marketed as modern art is soulless and, all too often, inane as well. It is pseudo- philosophical and arrogant – butchered by commerce. The hit at this year's Venice Biennale was a silicone sculpture of a humanized sow lying with her thirsty piglets. What's going on!? In Katrin's paintings you find figures which are unreal but convey the reality of a life. They express feelings that have been experienced, suffered and then reinterpreted in a dreamlike fashion. They are thoughts, pains, hopes, desires and fears. They are embedded in colours, in ornate shapes to make them bearable, to contextualize them. Fear is the primal driving force, the force that triggers myths and religions as the basis of all cultural development. In Katrin's work it is no longer repressed and suppressed but let free and painted. There's shouting and silence, a polarization of feelings, a build-up of power and release of energy: painting as a

Freedom embraces colour by Prof. Dr. Horst Linker Cologne - Germany “Katrin is a self-taught artist. Or were her teachers her experiences in life? The current art scene is teeming with autodidacts. But Katrin is refreshingly different from most of them, because she can really draw and paint. She knows how to use colour, shape, structure and materials. With her skills, she carries on this craft in all its artistry, never getting lost in trivia. She has the talent, and she puts it to good use. Or is it, perhaps, more a case of her painting stemming from an inner compulsion? In modern terms: an obsession. For what does being obsessed actually mean? Isn't the best way of being an artist to be driven – to have to write, to compose, to sculpt, to paint? Compulsive artistic activity is not based on superficialities. Not does the artist pursue a purely


“Hit the road, baby!” Oil on canvas 41.3”X49.2”

dissolution of the self, as laceration, dismemberment – for the sake of self-knowledge. These are not the sort of pictures you can plan, like a painting of the sea or of an Alpine hut with the Watzmann in the background. These paintings evolve in a complete different way, their development is compulsive. They reinterpret colour and tear up shapes for reasons deep within. Hieronymus Bosch was also an artist who pointed to universal human problems by means of encrypted messages. It was a new emphasis on the individual that opened the way to the depiction of existential problems. If you take a close look at Katrin's paintings – paying no attention to dates and titles – you will see how the process of experiencing changes. How freedom embraces colour and colour freedom; how magnanimity is realized in small formats; how other spaces arise. And much more is possible, because she has no lack of energy and imagination” Mail:

“Freedom is just a Hypothesis” Pencil on board plus object 14.1”X16.5”




“Desert Police Station” 35" x 25" Acrylic on Canvas

My work has been variously described as realist, Born in Ghent Belgium, currently residing in the USA. Max Werner studied Fine Art at the Byam Shaw School of Art, London, and the Slade School of Art, University College London. Later, he taught printmaking in both schools until 1990 when he set up his own etching workshop in London. In 1997 Max Werner moved to Argentina, and until 2003 worked with Art House Gallery in Buenos Aires. Traveling extensively across the different regions of Argentina, he produced a body of work consisting in its majority of large landscapes painted on canvas, although a lot of those landscapes contain observations of the various rural activities of those regions, such as cattle

“Deer Creek Pass” 50" x 40.5" Acrylic on canvas

auctions, gauchos and their horses, etc… In 2003, he moved to the USA, there he reverted back to a more familiar way of working. Max Werner in fact, uses quite a wide range of different ideas. Their common thread is that they all tell a story. Often triggered by simple observation of his immediate environment such as landscapes, Max Werner seems to love the challenge of an unusual composition, and the capturing of the diversity of light in the various places he travels to.” His paintings are rarely painted on the spot, but instead painted in his studio a few weeks later, with the help of many sketches and photos, but not sticking to the recorded reality. The end result is an image which evokes a mood, and which conveys what the artist felt at the time, rather than a faithful representation of the place described. This in turn invites the viewer to reflect.


“Cows in The Sunset I” 34.5" x 19.5" Acrylic on canvas

“Early Morning Round up” 38" x 24" Acrylic on canvas

Perhaps to understand his work better, it is interesting to note that one of Werner’s favorite artist is Magritte: “ There is something about Magritte’s surrealism especially, which I find very interesting. This one step away from reality, a juxtaposition of things which sometimes also occurs in real life. When it does and you pay attention to it, it creates a situation that can be in turn funny quirky, or absurd. For me this is a constant source of inspiration.” Email:





“Green Wind No.1” 78.7”X62.9” Oil on Canvas

Green Wind Series - Ren Jianhui "Ren Jianhui was born in Chengdu, China. He graduated from China Central College of Arts and Crafts (now known as Tsinghua University School of Art) in 1982, and was taught by Professor Wu Guanzhong. Awarded with an Honourable Mention for “A Happy Life No 5 ” - 35.4”X27.5” “Faraway Song”35.4”X27.5” Painting at the Biennale Chianciano, Italy, in Oil on Canvas Oil on Canvas 2009, he has taught in the National University of Singapore previously. Ren is currently the Chairman of Artists Society of Singapore and a member of China Artists Association. Having held solo art exhibitions in the USA, Japan, China, Singapore, Malaysia and Indonesia, his artworks have been acquired by numerous corporate organisations as well as private collections. After exploring into different styles with various media in his art career of more than three decades, it seems that Ren has finally settled with his current way of expression. Through semi-realism, he is showing us a new found energy in modern oil painting which has included the combination of modernity and primitivism. By his unique methods of processing the paint, he has mastered the optimum way in treating background and foreground on a canvas separately yet producing a perfectly complementary effect. " EMAIL:  



"Green equate to Nature, especially in our age of climate awareness. Shades of green are employed by the artist in multitudes in his portrayals of unnamed sitters, as we wonder about the boundlessness and omnipresence of Nature in our lives. It is a phenomenon unchangeable and un- avoidable, nor can we live without. A different tint of green envelops the subject in each portrait, celebrating the diversity of mankind. Every person is unique and imperfect, but under the green veil of Nature, it is a world united and harmonious. While Nature is eternal, man is not. As we travel in time, our skins become wrinkled, hair fallen, image blurred, minds obfuscated. The enigma in Ren’s work alleviates the ruthless passage of time as much as Dali’s clocks dilute the persistence of memory. As Confucianism teaches, “People at birth, / Are naturally good. / Their natures similar, / Their habits make them different”, while every feature on our faces might be washed away by the storms of time, the eyes, the windows to our souls, remain clear and untouched. The eyes of Ren’s sitters reflect their good nature despite poor habits after birth, not losing their luster over time. Thus, their eyes are glittering with purity, the truthful reflection of their hearts and minds."

“Green Wind No.3” 62.93”X53.1” Oil on canvas

“Green Wind No.2” 66.9”X53.1” Oil on canvas




“Ski Lift” Oil Based Enamel on Canvas 48”x60” “The Taste of Lollipops” Oil Based Enamel on Canvas 40”x30”

Thomas T. Thomas was born in 1957 and is currently living in the San Francisco Bay Area. Thomas’ journey into painting was totally by accident, but since the day that wonderful accident occurred, Thomas has developed an intense passion for painting and has been creating wonderful canvases filled with color, light and movement. Thomas is no stranger to the arts, as he graduated from the University of Cincinnati, College-Conservatory of Music, with a Bachelor of Music in Voice Performance. Thomas is also an accomplished Jazz and Classical Guitarist. Additionally, he has an MBA from the University of Cincinnati and is a Chartered Financial Analyst (CFA). After a distinguished business career as a Financial Executive, Thomas has come full circle to embrace his roots, the arts, and is excited to expand and fully embrace his artistic expression through painting.



“Celebration” Oil Based Enamel on Paper 48”x48”

“The Seduction” Oil Based Enamel on Canvas 30”x40”

“I started painting because I had this intense desire to express my feelings in color and shapes. For me painting is spiritual and cleansing, always creating the path to renewal of body and soul. Painting is also very physical and when I am finished with a piece, I am emotionally and physically drained. As a trained classical and jazz musician, I understand the concept of total freedom to create and that is what happens when I sit in front of a canvas. My paintings are sourced from music and like the modal system, represent a broad spectrum of moods, from happy and lyrical to sad and dark. The colors represent the richness of harmony, the brush strokes are the melody and the shapes represent rhythm and meter. I approach painting like beginning a musical performance, seeking tonal integration in harmony, melody, rhythm and meter. When I begin a new painting, I never know what direction the painting is going to take until it is finished, always listening to the painting tell me the direction it wants to go, and so the act of painting is totally spontaneous. This approach unleashes a “freedom to create through improvisation,” allowing my subconscious to bring forth a creative spirit that captures “the moment” in each of my works. My primary motivation is to create a work of art that engages the viewer’s imagination….creating the conditions for a continuous state of discovery.” Email:

“Transfer of Power” Oil Based Enamel on Canvas 48”x48”

“Celebration” Oil Based Enamel on Canvas 48”x48”





“VEILED”_Monotype,Found Objects 20”x24”

“PLUNGE of the EMOTIONS” Oil on Canvas 24”x20”

Born in postwar Germany, I cur rently reside in Mexico. I studied at the universities of Muenster, Berlin and Cologne, and after earning my degree I worked as a teacher and speech therapist. My life-long passion for discovery resulted in traveling extensively through Europe, America and Asia. To travel is to see different things and it is also to see things differently. While travelling to foreign places my experience of the world took on an unfamiliar texture. The diversity of cultures, the way people dress, their musical instruments, the colors of a landscape, new sounds and smells, nurtured my desire to visually express myself in a variety of mediums and techniques. They say that to look at an art piece should itself be to travel, to be transported, to be taken somewhere else. Each of my paintings, prints or sculptures is its own self-sufficient world, to be



“YOU ARE NOT ALONE” Porcelain Monotype,Glazed 15.5”x11.5”

experienced as we would experience an unknown place travelled to for the first time “For the past years I have worked simultaneously in several different mediums. Each one has specific intrinsic qualities and rewards. I marvel at the unlimited possibilities of a piece of canvas, the perfect blank of a page or a lump of clay. My artwork derives from unique emotional situations and countless layers of ideas, images and feelings, and goes different ways for that reason. There are moments in life when emotions exceed perceptions, when the world inside takes precedence over the world outside. I am determined to work out the best solution for that idea, with whatever materials are appropriate. I am searching for a visual expression of the dialog between the ephemeral and the eternal, combining abstract aesthetics with emotional storytelling. My paintings, prints and sculptures are surrogates for past happenings, dreams and desires as well as sudden visions, and they investigate human dynamics. By taking an analytical step back and by integrating diverse elements, I arrange and connect, seeking anatomies of experience. My work serves as a metaphor for the phenomenon of recollection, simulating the process of memory itself. Distilling the bravery, anxiety and sadness of the world I try to strike a chord of recognition in those who look at them. Essentially, my body of work is an extension of my soul and a means for me to engage with an increasingly complex world, subject to its own rules.” EMAIL:





“Ginkgo Ferrum: Structure” Oil on Canvas 47.2”x47.2”

I was born in Osaka, Japan in 1978. I moved to England in 1994 and graduated Chelsea College of Fine Art in 2001. Since then, I have been making art works based in London. I have had several solo and group exhibitions and participated in international art fairs, including ArtExpo New York 2013, Open Art Code Paris 2012. I use metallic oil colours to paint certain kinds of plants that are extinct in wild or endangered. In my paintings, I challenge to harmonize the industrial feel of metals and nature of plants in conjunction with the thought about extinctions. Ginkgo Biloba is a particular endangered species whose genus has survived since the Jurassic era without evolution. In the series of paintings titled "Ginkgo Ferrum", the surface of the painting is textured with brush and other tools to reflect the shape of ginkgo biloba. The image may be seen or un-seen depending on the lighting.


"Ginkgo Ferrum: Structure" (detail)

"Acanthephippium" Oil on Canvas 47.2"x66.9�

Paphiopedilum" Oil on Canvas 47.2"x66.9"




“I saw the angel in the marble and carved until I set him free.� ~Michelangelo

Detail of “Dancer in Red” Acrylic on Canvas

FABIAN PÉREZ By Cody LaVada - New York



ARTTOUR INTERNATIONAL JULY 2012 “Man Lighting a cigarette II” Acrylic on Canvas

Born in Buenos Aires, Argentina on November 2nd, 1967, Perez has always had an interest in the arts. He worked with watercolors and tempera at the age of eight, and began to create portraits of friends, family members and celebrities which he kept in an album. Working at the encouragement of his mother, Edua Herreria, who he lists as a major inspiration in his life throughout the creative process, he delved into the world of art at a young age, fully dedicated to his endeavors. Another inspiration to him was his father, Antonio Perez, and the life that he lived. The youngest of the four Perez children, Fabian Perez frequently spent time with his father and witnessed his difficult and oftentimes unconventional lifestyle. Antonio Perez was the owner of several nightclubs and bordellos in 50

the area, which were frequently closed down by the police. Fabian says that his paintings often include likenesses of his father, depicted as “the cool guy” outside the clubs. As a child, Fabian was motivated by these locations and the “ladies of the night” that existed within their ethereal realms – the beautiful women who could seduce a man by “simply lighting a cigarette.” As a result of this fascination with the women he observed and the demimonde in which they dwelt, Perez often includes such characters in his paintings, paying tribute to his childhood and the splendor that he experienced in those years. While Perez admits that figures have always been his biggest challenge in painting, he also says that they are his favorite to render for that very reason: the challenge of creating and perfecting the human form. Cont. Next page 50



Despite his mother’s insistence, Perez received no official artistic training at an academy or university; most, if not all of the talent that is evident within his dazzling works of art shines through as a result of his own ingenuity and the influences of the many people, places and events that he has experienced over time – the joys, as well as the heartaches.

Being inspired by Picasso for what Perez calls his “versatility,” he is also inspired by beauty in the everyday world: both the literal beauty of a human, and the staggering beauty of metaphor, such as manners, spirituality, principles and nature. Most of his paintings include the nightlife that he was so fond of as a young artist, depicting ravishing geishas shrouded in shadow, sultry courtesans applying cosmetics or passionate dancers elegantly backlit by a stage in some dim cabaret. He has stated that the most important part of portraiture to him is the capture of the essence of the subject itself: each nuance and iota, everything you see and cannot see. “Accolades” Oil on Canvas

When he was sixteen years old, his mother died followed by his father three years later. Grieving and deeply depressed at the passing of two major supports and inspirations in his life, Perez found solace in one of the greatest motivators of his life: Sensei Oscar Higa, whom he met in 1984. With this paternal figure, Perez learned martial arts, which he had always had an interest in, and managed to channel his despair and emptiness into yet another creative outlet, using the discipline of karate to fill his time. With the sensei, Perez found a friend, teacher and incredible influence; he also found strength and inner peace with himself, and eventually left Argentina to embark on a journey of global proportions which lasts to this day; he moved to Italy at the age of 22, where he resided for seven years. He filled his time by collecting various forms of artistic encouragement and studying with Oscar Higa. Having always loved traveling and the new muses that it revealed to him, Perez welcomed this new chapter of his life. While in Italy, Perez picked up several new artistic techniques and also gathered the inspirations for a book: “Reflections of a Dream”. He has since written two others: “Waiting for the Romance to Come Back” and “All the Romance We Leave Behind”.

His medium overtime has evolved from watercolors and tempera to acrylics, which he enjoys using because of how quickly they dry, which he uses to his own advantage since he is, by his own admission, an impulsive and unpredictable artist when the fever to create has possessed him. While there has been some discrepancy about what style he predominantly creates in (some call is surrealism, others abstract, and still others refer to it as experiments in symbolism), Perez says that he always returns to the figurative style of what he calls neoemotionalism. He chooses to not classify his works as expressionism or impressionism, saying that such classifications greatly limit the scope of one’s artistic license, as well as subsequent audiences’ interpretations of his creations.


ARTTOUR INTERNATIONAL MAY 2012 “Coquette” Acrylic on Canvas by Rafael Espitia

“Waiting for the Romance to come back II” Acrylic on Canvas

Perez then lived in Japan for a year, during which time his paintings amassed some critical acclaim; both his painting of the Japanese flag and a painting of a meditating man were purchased and hang in the home of a Japanese government official to this day. From Japan, Perez decided to explore the United States, and he took up life in Los Angeles, where he worked several jobs – among them a busboy, a model and as a vampire caracter in Holloween at Universal Studios. With such busy days, Perez had only the nights with which to hone his craft and he calls these nights spent painting in LA his most creative period thus far in his career. In 2001, the beginnings of Perez’s worldwide fame were cemented when two art critics saw an exhibition of his paintings in LA and fell in love with them. They met with Perez a few days later and quickly formed a partnership to help market, promote and sell his works. The collaborative efforts were an immediate success, and almost at once, Fabian Perez’s artwork was selling like wildfire as a rapid demand for original pieces of his skyrocketed.

Despite his fame and recognition as both a fine artist and an author, Perez remains grounded, levelheaded and humble, citing his fans and those who purchase his artwork as inspirations and motivators behind his continuing artistic journey. Even in interviews, his intelligence and candor shines through:” Q : D o yo u re m e m b e r yo u r fi r s t interaction with art? When did you decide you wanted to become an artist? A: I have always liked to paint, but never thought that an artist could be successful before one dies. But, when I sold my first painting, I changed my mind. Q: Your paintings have a very strong composition: they all seemed to be narrating a story. What exactly are we looking at? Can you explain your creative process for us? A: The compositions in my paintings are purely my subject matter: the people - with little references to the place, temperature, etc. – always suggestive and mysterious. I get my ideas at night and I sketch them. The next day I go to the studio and paint them. Cont. Next page



Q: What's a typical day in your studio like? A: My studio is located in the back of my house, separate from it. I go back and forth to the house all day. On my breaks, I like to be with my family, and then I will go back to the studio. Q: Can you describe your studio for us? A: My studio is located next to the house - just walk across the yard, and you're in the workplace. All that I need to be able to work it is quiet and calm. Q: You live in Los Angeles. Tell us about your house. A: I live in a Spanish house, built in 1928. Of course, I like it, and I am proud of my personal bar. I have a nice collection of whiskeys. I am a lover of big parties. We love to walk from dusk until dawn. Q: You have moved a lot throughout your life; what have you taken with you from each country and what memories do you have left? A: The most important thing I learned while living in different countries is that there is no paradise. As soon as you leave the parental home, you are bound to seek its place in this world. You belong to the places where you live; they give you a lot emotionally. If every day is no longer special, it is time to go somewhere else. Every move is an exciting and interesting experience. Q: What do you hope the viewer will take away from your paintings? A: Those things from the past that help with the evolution of the future. Q: What are you currently working on? What upcoming projects, shows etc. do you have developing? A: I just finished a tour of 16 exhibitions in the UK, and I am preparing a Mediterranean tour in July, among others exhibitions in the future – hopefully one in Russia. Since his explosion as a global phenomenon over a decade ago, Fabian Perez has continued his artistic endeavors, trailblazing a stunning legacy and body of work that is unmatched by most modern artists. He has had the distinctions of being the official artist of the 2009 10th Annual Latin Grammy Awards, as well as painting for the 2010 Winter Olympics. His name and exceptional style of such evocative beauty remain a marvel in the art world.

“Man in a Chair” Sculpture by Fabian Perez

“Flamenco Dancer” Sculpture by Fabian Perez

To learn more about Fabian Perez, his artwork, exhibitions and up-coming projects, you may visit his website



ATIM’S TOP 60 MASTERS OF CONTEMPORARY ART “Tango” Sculpture by Fabian Perez



“Dream with Roses” Oil on Canvas




A R T ”

By Juan David Aguilar - Colombia



“Fountain” Oil on Canvass

Belarmino Miranda is a Colombian painter with national and international trajectory, he is considered one of the leading exponents of female nudes and portraiture in Latin America. He was born in Medellin, Colombia in 1967. Miranda defines his artistic work with the following words: "I paint the love because it´s not afraid to reveal anything, it gives everything away. From the hand of old masters in a religious and sacred way, I worship the ancient greatness of women. True to its essence, without any concealment, I just want to capture the greatness of her body and soul, a woman who is an emblem of perfection, from beginning to end ... a fountain of life that gives meaning to my existence. " I just want to capture the greatness of her body and soul; women are an emblem of perfection, from beginning to end ... a fountain of life that gives meaning to my existence. " His works have been exhibited in countries like Colombia, United States, Canada, China, Dominican Republic, El Salvador, Venezuela, Costa Rica, and international art fairs such as Art Miami, Art Palm Beach, Las Vegas Art 21, Art Essentials – Canada, Art

New York, Artbo - Bogota and Shanghai Art. His works are part of important private collections in different countries. Q. How did you begin your artistic career? A. At 18 years of age I felt that a door opened in my life, when I discovered that I had a talent for painting and sensitivity for the arts, it was an awakening to a magical world where dreams have their own space and ideas a place. I studied art at the CASD (Centro Auxiliar de Servicios Docentes) and the University of Antioquia, School of Arts, a wonderful institution for which I am extremely grateful. Q. How do you define your art? A. It is a refined technique, framed in the realism and with a large load of romanticism. Q. How was your progress in figurative painting? A. The human figure is the central theme in my work, and has always been present. In my early days I painted the nightlife: prostitutes, drug addicts, alcoholics. People of the night claiming a space of inclusion. They contributed strength, feeling and character when they came to be painted in an expressionist style. In that time I sought to make a work full of matter and with great force in color. Cont. Next page



Q. Do you consider that your work tells a story? A. It tells the story of my life. I paint the people I love, the spaces where I live, what I feel and think. Q. What does it mean to you the phrase "Just love and art"? A. Love is the greatest thing we have, it´s the creative force, the essence, it´s the way. With art I have the best pretext to maintain a continuous search and sublime of the beauty, because in art converges the highest thoughts and expressions of the human being; it´s the air I breathe. For this reason in my life, "Just love and art." Q.. Tell us how is a day in your study? A. Begins very early in the

essence: the breath of life in which all of them feel represented, identified, respected and loved. Q. What inspired you in your a series of paintings “Fountain” or “Light baths”? A. “Fountain” is a series inspired by Ophelia from Shakespeare, in this masterful piece, the writer introduces us to the fragile and in love Ophelia, surrounding herself with flowers in a damp tomb, - women and water together forever. This act is considered as the ultimate reference for women and unsurpassed self-sacrificing and maddened by love, to show the perfect devotion to his beloved, satisfying the greatest fantasies of men. “Light baths” is a series that emerged from the observation of everyday life and the beautiful act of taking a bath, which through the ages remains a habit in which cleanliness, purity, "the light" ... is the intrinsic purpose, spiritual, real and profound of this ritual. Q. Does your childhood or adolescence marked spaces that are reflected in your work? A. During my adolescence I studied in a catholic seminar, surrounded by religious icons and rituals that brought to my life, serenity, silence, spirituality, and I see it reflected in my work. Q. Your work evokes a fascination for portraits. How do you explain it? A. The truth is that they captivated me even more when I understood that men through the ages had felt a fascination with themselves being portrayed, and even more since the Renaissance when men turned their eyes towards themselves and they stopped seeing themselves as a reference to God, taking conscious of the "self being", of the person and personality. The concept and the way of seeing themselves changed and they become the center of the universe. For many today it is a matter of vanity, but a portrait has deeper realities, "portrait" is trying to "be" again, is to have another opportunity to "be" like in The Picture of Dorian Gray; I must take into account the psychology, personality, beauty and accuracy in the representation, to apprehend the person and give birth to the character, so when I paint a portrait, I wait patiently for the visit of the real being in order to capture de essence and freeze it forever in the art work. Q. What has influenced your work and which artists have influenced you the most? A. What has most influenced my work is the presence of women as the pillars of humanity: "Women sacrificed through time", that was my North at the time of composing. Francisco de Goya and Johannes Vermeer are artists that struck me when I discovered them: Goya for his rebel treatment, expressive and vital in his works, especially in dark times, it was the first contact I had with art, through a small book that came to my hand by fate. Around the same time I discovered

“Light” Bath Oil on Canvas

morning, I give thanks for the "gift" of a perfect new day where I can think, paint, or just simply enjoy the work that I am working on. I love the contemplation stage, because through it I discover the soul of the work, which is beyond what is being represented, is the very essence claiming its space and I fall in love with it. It is a parallel and magic world in which I am aware that I only participate as a means to make the beauty emerge and continue its creation process. Q. How do you conceptualize your work? A. With the constant observation of everyday life, with the relentless pursuit of beauty and a permanent spiritual awareness. Q. What has been the muse of inspiration and why the female body is the main element in your work? A. The woman as an emblem of perfection has been constant in my work. I have had several muses, all important in my life: my daughter, my wife, dear friends, -my great battles mates-. But what matters is not whom I paint, but what they symbolize... every woman I paint is an icon that represents the essence and the ancient grandeur of its kind: "In one I see them all", this is why I seek to paint the ineffable of her soul, her

Cont. Next page



“Shawl” Oil on Canvas by Belarmino Miranda


Above: Maestro Belarmino Miranda Montoya

Vermeer, it captivated me the way he elevated everyday things to a sublime level, bourgeois and refined, the exquisite treatment of light and a great respect for women in his compositions, making her the protagonist in a big part of his work. Q. Insiders consider you a great exponent of figurative painting, especially for the detailed and refined treatment of the female nude, what can you tell us? A. It is only the fruit of a hard and honest work, filled with love and passion in order to try to capture day after day the way I see and feel the art, I know that staying true to good figurative painting and by making women the theme and focus of my work, I can be outside of avant-garde currents of the moment. I accept with respect all sorts of criticism and comments about my work, but try to stand apart from them to continue unabated in my creative process. Q. What advice would you give to the artists who are starting out and looking for a place in the international art scene? A. Do not forget to take high quality photographs of the works they make, I advise them to leave this task to a professional photographer. Keep in mind that with no high quality images, there are no possibilities to produce good publications that will help them get noticed, it is also important to keep a record and certify every art work, there are companies that provide this service online. Remember that it´s not only having talent, mastering a technique and painting with love and dedication that is enough, we must be aware that every artist is a business and it should be handled as such. Having the support of a manager or representative is critical in our career, especially in these times of globalization. Q. In 2011 two of your works were awarded an honorable mention in an art exhibition. What is this work and what it represents?


A. There were two works I exhibited entitled: “Tag photo” and “Change photo” from the Social Media Series. These works received an honorable mention in the last room of Visual Arts in Medellin, Colombia. They are two very realistic portraits of women with a speech on them in which the viewer is as if he had entered their Facebook account and was ready to tag a photo or change the profile photo. Q. Yo u a re c o n d u c t i n g s t u d i e s i n Museology and Curatorship, what motivated you to do it? A. I was motivated by the importance of understanding the dynamics of museums as centers of research and legitimizing culture in a community. Knowing the museological and curatorial processes has given me a broader view of management and conservation of collections in major non-profit institutions. Learn to curate and to exhibit is something that will help me when preparing an exhibition of my own works.

”When it is working, you completely go into another place, you’re tapping into things that are totally universal, completely beyond your ego and your own self. That’s what it’s all about.” ~Keith Haring


“What Can I do?” Acrylic on Canvas by Rafael Espitia

RAFAEL ESPITIA By Cody LaVada - New York





“Desire” Acrylic on Canvas by Rafael Espitia

Q: Could you share how your career began as an artist? And more specifically, how did your figurative technique evolved? A: “My career began at an early age when I first discovered my love for painting. It motivated me more when, at age six, I started taking lessons for children in the school of Bellas Artes in Cartagena. Sure enough, my mom tells me, painting was what I enjoyed doing all day long and I was lucky that my parents encouraged me to improve my painting skills. Then at school, I used to to paint the billboards for the classroom, backdrops for plays, and participate in painting competitions. At the age of thirteen, after my introduction to watercolor with the help of professional artists, I had my first exhibition in an art gallery. At age 17, I was already studying at the Art Students League of New York. Then came the awards - my trip to Spain, many recognitions and many more wonderful things. My life since

then and until now has been an exciting commitment to painting and art. Figuration was always a constant passion; I think I was a great realist from a very young age. In the search for a unique style, not wanting to get my paintings to look like another artists’ work, it has been evolving in the work that I present to you now: the work of Espitia.” Q: How would you define your technique? A: My technique today is the sum of many years of experiments and tests that have resulted in an overlapping of spots and effects that serve to convey a message. In the process, I use techniques and concepts of wave frequency of the colors (the speed at which the colors travel in space) to produce feelings of beauty in the brain of the beholder and also to be able to show my work in 3D. This sets my paintings apart from others in that they can be seen in a conventional manner, as well as with 3D glasses where the images appear as layers to produce the illusion of depth and vertigo. This is very interesting in

my exhibitions and produces a revolution in the room where the works are exhibited. It is innovative and the public recognizes it as a contribution to the art of the moment.” Q: What is your philosophy on the nature of the portrait? What do you think it fulfills within society and what should its purpose be? A: People have always wanted to see themselves portrayed. The point of the portrait is to stop time and to let the subject be the star of something relevant and, in this case of a work of art, we the artists want to give this tribute to friends and people that we are attracted to and seduced by. But really, in my case, it has been another excuse to show our own language - that is, how people are seen through the eyes of the artist. Q: Your paintings have very strong compositions; they seem to be narrating a story. What exactly are we looking at? Can you break down your process for us? A: Yes, this is all about showing and reinterpreting what attracts me the most: color, so I start creating complex compositions that allow me to tell, within the same image, different sensations of color. There are also textures and shapes that tell stories; these stories are read as the result of the combination of what is described by the image, suggested by the brush strokes and color spots, and by the imagination of the observer. I always want the viewer to feel surprised and delighted with my work. Cont. Next Page


ATIM’S TOP 60 MASTERS OF CONTEMPORARY ART “Coquette” Acrylic on Canvas by Rafael Espitia

Master Rafael Espitia Perea is an artist renowned for his murals, awards and long painting career. He was born in Cartagena, Colombia in 1967. Always interested in art, he studied and received orientation from Master Julio Carlos Angulo, before studying at various colleges and universities, among which were Universidad de los Andes, in Bogotá, Colombia (where he studied engraving), the Art Students League of New York (where he studied watercolor, painting, composition and color), and Universidad Nacional in Bogota (where he studied history of Latin American art, art appreciation and photography). His digital art credentials include Photoshop cS5 , Corel Draw, 3D Max, Corel Painter XI, and Premiere Pro cS5. Curator of Espitia Gallery in Cartagena and Espitia Gallery in Bogotá, and is the founder and managing partner of Diseño Interior, Cartagena. He was the assistant artistic painter for the film "Love in the Time of Cholera," a film directed by Mike Newell and based on a novel by Gabriel Garcia Marquez. The film features his colorful murals and mosaics, highlighted on exhibit in the best hotels and convention centers within Cartagena. He lives and works in Miami (US) and Cartagena (Colombia), and is professor of visual expression at Universidad Jorge Tadeo Lozano. He is currently the resident artist of Area 23 Art Gallery in Wynwood, Miami.

Q: Your figures are often set against a more abstract background. Is this juxtaposition intentional? How do you create the background? A: When you closely and carefully see one of my works, especially the works of more recent years, the stains and abstract brushstrokes are individual effects, which together end up showing a possible image, an abstract world to our brain that is used to bringing everything into a tangible reality. It makes my spaces, characters and themes that captivate me very real. This is all, of course, exalted with the magic that 3D offers us. Q: What's a typical day in your studio like? A: Well, it is always a long day, working on many simultaneous projects and art works. The works for my


exhibitions are created in a traditional technique, such as acrylic on canvas. First of all, before I start the painting, I create the sketches of each series digitally. I am always painting works for each show and digitally designing future series. My days are long but vary a lot. I quite enjoy doing my work; I live and paint between my studios from Miami (United States) and Cartagena (Colombia). I love the intensity in the art - this is what I like and I have always been passionate about. I take the best each city offers me, especially when I am in the company of my wife and daughters, or with my many friends with whom I spend time talking about the same subject: art. Q: How do you conceptualize your images? Do you draw on memories, or from photographs of

events, individuals and locations? A: My paintings all start from an idea that inspires me, from the title of a work previously baptized, to any image you see on film or in photos - that is, anything that seduces me, such as "Woman," which is one of the series that captivates me the most. I make films of my female friends and then I look at the video, frame by frame, trying to find the image that will serve me most to describe the message I want to convey. But this is not more than 30 percent of my art work because after this, I take these ideas and sink them into my world of colors, feelings and spaces which are the elements that really make each painting a sample of my own language.

“Charmed” Acrylic on Canvas by Rafael Espitia

Q: What elements of the world around inspire you and your work the most?

A: I am inspired in most cases by color and beauty - the exuberant beauty of a woman and the beauty of the magical elements in Colombia. In "Women" in particular, the contemporary woman is depicted - the one that speaks her mind and chooses what she wants, the woman who seduces and is seduced - the woman that says it all with a gesture. I'm also working on a series I call: “Glances” (“Glimpses”) where I present magical places - strange, unique, unexplored worlds where I want to seduce the viewer, inviting him to travel with me and show him places filled with many colors, shapes and

emotions that seem quite like my fantastic Colombia. Q: What are some of your influences?

A: I’m influenced by all artists who are open to create new visual experiences. I am a big fan of creative people, particularly those who can handle and probe on color and the great conceptual artists of the cinema. Q: What do you hope the viewer will take away from your paintings?

A: I remember that my work surprised and amazed them; I make them vibrate with color and different emotions. Q: Do you remember your first interaction with art? When did you decide you wanted to become an artist?

A: Everything started when I was a very young child. I remember when I was 5 years old - I used to pretend that I was a painter who had exhibitions, and my mom used to organize my paintings on the walls of our house. My grandmother had to run to hang the painting of Topo Gigio that I had made when she came to visit and have people stand around me, watching me paint. Then at age 12, I used to do live painting with watercolors on the streets of Cartagena with my mother and very good professional artists that allowed me to accompany them and learn from them. Everything started when I was very young. I do not know at what point I became a painter. I think I've always been a painter. Cont. Next Page



“Flirting” Acrylic on Canvas by Rafael Espitia


RAFAEL ESPITIA Q: What is your family background? Were there any artists or creative types in the family?

A: Yes, of course! I inherited my abilities from my Dad (Humberto Espitia). Although he is not a painter, he was very good at it. He was an architectural drafter and he allowed me to borrow his watercolors and brushes, and those were my first paintings. My mom (Cecilia) is the one who loves art the most in my family. It was she who supported me and made me a


painter, accompanying me, taking me and bringing me back home - not only to paint, but also to the exhibitions and all that it entails to be an artist at thirteen. These supports were very defining in my early career..

For Info:

“We dance for laughter, we dance for tears, we dance for madness, we dance for fears, we dance for hopes, we dance for screams, we are the dancers, we create the dreams.� ~Albert Einstein “Grace” Oil on Canvas by Chris Delllorco © Copyrights. All rights reserved.




by Viviana Puello - Florence, Italy

Originally from Los Angeles, California, Chris Dellorco is known for his notable work in film, children's’ products and books. He is most particularly recognized for his work with Disney, including, among many others, the covers for "The Lion King" and “Lilo and Stitch.” He has also illustrated many award-winning movie posters, including “Conan the Barbarian,” “Revenge of the Nerds,” and “Coming to America.” Cont. Next page “Contemplation” Oil on Canvas by Chris Dellorco © Copyrights. All rights reserved.



so many artists of different mediums all connecting at the same time and influencing each other; there have even been several books written on the subject. I think that this unusual surrounding allowed me to view a career as a creative person as something that was viable. It was not an imaginary dream but, instead, something that I saw as a normal way to earn a living. In fact, it was more unusual to find a more conventional job among my friends’ parents than a creative one.

I have long been a huge fan of Dellorco's work. This year we have the opportunity to enjoy an exhibition of his works in Florence during the "In the Mids" International Exhibition organized by Vivid Arts Network and hosted at the Auditorium al Duomo from March 23rd to April 4th, 2013 – the wonderful “Art of Innovation” Exhibition. He is an amazing artist, entirely self-taught and I came away very inspired after having learned so much during this interview. Dellorco's work "Ode to Joy" was published on the back cover of our February 2012 issue, it being one of the top two winners of ATIM’s art contest in 2012. Since then, we have had many requests from our readers to bring him back, so here he is! In this interview, Dellorco shares his trajectory as a painter. Read on to know more about him in our exclusive interview. Q. Where are you from? Can you tell me about your background as a child, and what it was like growing up? A. I grew up in the Hollywood Hills in Los Angeles, in an area called Laurel Canyon. Laurel Canyon was a very unique environment. Most of its residents were creative people, ranging from famous actors and rock musicians, to writers, artists and film directors. Journalists have actually likened this particular time in Laurel Canyon to being similar to Paris in the 20s, with


Q.You graduated from the University of California at Berkeley with a degree in Developmental Economy and then went on to establish a very successful career as a commercial artist. Can you tell us a bit about that development? A. I’ve always had two sides to me: a very intellectual academic side, and a very artistic creative side. I’m definitely equal parts right and left brain (unlike most artists, who tend to be mostly right brain). Despite my youth in the creative center of Laurel Canyon, initially the left side of the brain had influenced my direction. I loved learning and U.C. Berkeley was the top university on the West Coast of America. I thoroughly enjoyed my time at Berkeley and couldn’t be happier that it expanded my knowledge of the complex way that the world functions (particularly in the area of economics). However, after I received my Bachelor’s Degree, I longed to return to my creative side. While I attended U.C. Berkeley, I had been doing posters for the on-campus concerts, some of which had major rock bands, like Santana. I used these pieces as my first portfolio and returned to Los Angeles to pursue an advertising art career. Unfortunately, most art directors were not impressed by my early samples. Some even suggested that I attend art school to develop my skills. However, I was stubborn and determined. At that time, airbrush was the most popular medium for advertising, so I focused my energies on developing my skills with the airbrush. While working full-time at an art store, I would create samples on weekends until, eventually, I had a portfolio that could generate work. After several years, I had established myself in the film industry, doing posters for many major films. An illustrator friend of mine had been doing some work for Disney and recommended me to them. My first piece for Disney was a disaster. I painted it with the dramatic lighting and shadows that I used for my movie posters. Fortunately, the art directors at Disney let me try again and I began to understand the fun, playful style of the “Disney look”, instead of the dark, dramatic look that I had originally done for them. Disney began to use me so much that I hired three assistants and created a studio just for the Disney work. My studio was responsible for almost all of Disney’s video covers for many years.

ATIM’S TOP 60 MASTERS OF CONTEMPORARY ART “Hope” Oil on Canvas by Chris Dellorco © Copyrights. All rights reserved.

Q. You are completely self-taught, and as a commercial artist you have specialized in motion pictures and children's products. You have worked with renown companies like Disney, Coca Cola, Universal Studios and Mattel, to name a few. In the entertainment field, you have illustrated numerous movie posters which include “The Marrying Man,” “Coming to America,” and “The Firm.” You received the Silver Medal Award at The Hollywood Reporter Key Art Awards for the

“You must be the harshest judge of your own work because, if you are difficult to please, then when a piece pleases you, it is likely that it will please others. There isn’t a piece of art that I’ve done that I haven’t aggressively criticized and tried to improve upon. To me, that is what makes art exciting; there is no finish line.” Chris Dellorco

poster “Eating Raoul,” First Place for your work on “Who Framed Roger Rabbit,” Second Place for “Snow White,” and Finalist for “Aladdin - Prince of Thieves.” You also were a finalist for the prestigious Belding Award. How does this all blend in with your final art work which is just as amazing as your commercial work? A. The demands of being a successful advertising illustrator are very high. It is a very competitive field and you are forced to have your art reviewed by very obsessive Cont. Next page



“Protection” Oil on Canvas by Chris Dellorco © Copyrights. All rights reserved.

ATIM’S TOP 60 MASTERS OF CONTEMPORARY ART “Nocturne” Oil on Canvas by Chris Dellorco © Copyrights. All rights reserved.

professional art directors. To succeed, you must constantly raise the level of your art to please these very demanding art directors, or they will find an artist who can. Having maintained the high level of quality that is expected in the commercial art field for many years has created the same desire in me to display that discipline in my fine art. I think that I, unconsciously, treat each painting that I create in fine art as if the collector of that piece is the obsessive art director, looking for mistakes. I think that this attention to detail is one of the aspects of my work that distinguishes it. I often meet a collector who has purchased my work several years later. One of the sentiments that I often hear from them is that they constantly see new aspects of the work as they have lived with it and viewed it over time. I feel that the detailed aspect of my work is what allows the viewer to find new elements to understand and connect with. Q. Do you think that your education had an influence on the diversity of media you work with today? A. I would say that my education and my wider understanding of the world (from having a more academic

background in college) have created an interest in the historical aspects of the architecture that I paint. I don’t only see the buildings as attractive landmarks, but rather as living historical elements with their own individual stories. I think that this interest in history and economics brings a greater depth to how I use the architecture and which buildings I choose for each painting. Their stories become part of the meaning of the painting. Q. What bridges the works that you have created in differing media? A. There are certain aspects of advertising art and fine art that are similar; however, the goals of each are very different. Both styles require a strong sense of color, well defined composition, structure and attention to a high level of detail. There are many techniques that are present in movie posters that create a strong visual impact that I have used in my fine art oil paintings; for example, a strong central element to draw the viewer into the image, and then the use of secondary images to allow the viewer’s gaze to wander around the art. Also, the use of dramatic lighting to create emotion and drama in an image are techniques that I employ in both mediums. Cont. Next page



However, there is also a huge difference in the goals of each medium. In advertising art, the goal of the artist is to tell the entire story to the viewer in order to attract the viewer to the product or film. For example, if I did a movie poster, I want the poster to clearly tell the audience exactly what the movie is about, so that they will want to see the film. There is no ambiguity in the art; it needs to be very clear what the message is. But, when doing fine art, the opposite is true; while you want to excite the viewer’s imagination, you want to leave room for them to create their perceptions of the art. It is ambiguity that is paramount to the success of the image. Allowing a viewer to interpret the story that is being told is the goal of fine art. This is the most exciting aspect of truly great fine art: the stimulation of the audience’s imagination so that the audience can create its own understanding of the art’s significance. Commercial art decides what the questions are and supplies the answers. Fine art should provoke questions but not provide answers. Q. How did your early work differ from what you are doing now? A. I have to consider my early work to be work that I did about 9 years ago, since that is when I started my fine art career. I won’t include my commercial art, because it is completely different than my fine art. My early work was similar to my current work, but the elements were different. I had an idea to paint very average looking tourists at spectacular European landmarks, done in a classical painting style. I wanted to juxtapose the common with the uncommon. However, when I showed these to galleries and an audience, the art was not understood and, unfortunately, received little response. I wanted to stay true to the images that I wanted to paint, but I felt that if the audience did not understand my images, then I was not succeeding in properly communicating. So I decided to juxtapose figurative nudes against the backdrops of powerful architecture. I felt that I could still show the frailty of the human body in contrast to the monumental architecture, but with an image that the audience could comprehend more easily, which is the nude or semi-nude female form. Recently, I’ve expanded my style to explore more simplified backgrounds. Instead of using architecture, I am examining the contrast between a smooth, minimally-textured realistic figure, and a highly textured (almost three dimensional) abstract background. This puts the focus to an even greater degree on the figure, by allowing the background to be much less literal. Thus, it allows the viewer even more latitude in imagining the relationship of the figure to the background. I’m certain that I will continue to paint architectural backdrops, but this adds another dimension to my work, by taking the emphasis off of the literal structures.


Q. How did you begin working with commercial galleries? A. I began showing my work at outdoor art shows in Los Angeles. Los Angeles is a wonderful city because it allows you occasional access to celebrities. At these shows, I was able to meet collectors and create fans. At the Beverly Hills Art Show, Michael Jackson came to my booth and purchased art. At the Malibu Art Show, I was able to meet film director, James Cameron, who directed “Titanic” and “Avatar.” He purchased a large number of prints. These shows gave me confidence and some notoriety, which I was then able to use to interest art galleries. However, it is important to find the right gallery to match your art. It wouldn’t make sense for me to show in a gallery that only carried abstracts, for example. An artist needs to find a gallery that appeals to the same buyers that would normally be interested in their art. Q. What works did you have in your first solo show? A. I had both the images of tourists and architecture and the art with the female figure. The first image that I did of the female figure was entitled “Isolation.” It immediately sold at my first show, and still continues to be one of my most popular limited editions. It was at this show that I was able to see how much stronger the reaction was to the paintings of the female figure. This was an important opportunity to observe the response of my audience to the art to help me determine my direction. I still find shows very useful in gauging responses to my art from viewers, which then can help me move into new directions.

"What I dream of is an art of equilibrium, purity and tranquility, devoid of upsetting or troubling subject matter ..." ~Henri Matisse



ALDO BASILI Aldo took his first steps into photography in 1958 at the early age of fourteen, practicing and printing on his own in black and white and attending a full year course on professional photography. He worked for eight years for a company's Advertising Department. That period he focused his attention on urban landscapes, concentrating for some years mainly on his home-town Turin, catching many uncommon views. During the years 80ties and 90ties he worked hard on reportage photography, collecting and selecting a vast archive of images. Since 1995 he exhibited in many national and international collective and personal art exhibitions. As a result of an attentive and long lasting research, he started to create the so called “Photo-Paint”, works which were acclaimed by the public and the critics alike: “Turin’s Fantasies” and “ Venetian Follies” have been his first productions and are still in progress. He is actually realizing new series of thematic works of art. Researching and experimenting the creative processes and elaborating the photographic images are the trade mark of his artistic trial and he is recently much involved in planning new activities as well in the editorial field. His photographs are shown in private and public collections in Italy and abroad, in museum’s “Nevicata a NYC” Fine Art Print Canvas 26”x31” exhibitions and in national and international galleries. Moreover they have been published on catalogues, yearbooks and on photographic national and international websites. Critical Note : Until today he has gone through various and different photographic fields, from black and white to colour, from reportage shots to artistic photography, always looking in each image for their artistic potentiality and creative contents. Thus proceeding it happened that photographs of common people captured in the flow of their everyday life revealed to be ironic or even funny; that the urban landscape through elaboration of successive shots revealed to be a perfect cubist picture; that colours in nature through digital elaboration took a definite shape. I believe this to be the unique feature of his works and what he intends to pursue; the quest of what each image can became through the artistic vision, the looking for art that can be revealed in each image and in the elaboration of successive shots or post production, the search for photographic interpretation of abstract concepts. Email: “Campo Presso Rialto” Fine Art Print Canvas 31”x21”


“Spider in Detroit” Fine Art Print Canvas 31”X25”



“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, “Questions” Fired Oils on Porcelain 16.14”x12.2” 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. Email: “Slient Challenge” Oil on Board 15.7”x11.8”

“Serendipidy” Oil on Canvas 31.4”x23.6”





“Luce in Fuga”Mixed Media Two Panels 8.2”x11.4” Each “King RooH” 8.2”x11.4

This few words I want to dedicate to those persons that show me my first steps, my first words, and the  most important thing, the value of life and how precious it is. They gave me the best gift  of love  that I sill alive in my heart,  as a treasure.  I had great support from my mother Rosa Elena, grandma Letizia and my sister Maria Rosa. What other way to honor them but to keep cultivating with joy and color. what they represent  for me. I became a painter as means to communicate my perception of the world, and what is in it. I think that's the  real meaning  of art.  I enjoy very much my artistic career. When I start painting I automatically   feel   free to start   "playing" when I should be "working", In any case, it¡s not easy to represent the emotions  and feelings,  that's why it's important to feel   not to "think", What I mean is that sometimes when I think a lot I start having fears., and that does not help  me to work.  I've come to the conclusion that to analyze what I do instead of over thinking helps me to improve my capacity of perception, letting my own shapes flow. AnnaPaola Gorozpe PerezPria Email:




Andrew Danielsen grew up in the rural countryside, outside Downingtown in southeast Pennsylvania. The rolling hills covered in patchwork cornfields, forests, and cow pastures, created a flame of inspiration that helped propel Andrew’s artistic direction. The natural environment where Andrew grew up fostered his love for art and sealed the connection between his art and the land. The underlying theme with most of Andrews work, past and present is his love of nature. “My art is an impression of the natural environment” “Much of my art is inspired from the feelings of grandeur, awe, and mystery that I experience in nature.” Andrew has always been involved in the arts but began getting recognition for his work in middle school and high school. His interests led him to mural painting, set design, commissioned portraits, landscape design, and oil painting. After two years of advanced placement art and a complete portfolio ready for art school, Andrew decided to switch gears and go to The University of Vermont for Environmental Studies. With this new path in life Andrew decided to resume his passion for art after college. He returned back to art and focused his creative talent toward wild crafting and nature based design. This was followed by a return to oil painting in 2008 with a tree series, and subsequent showings at the annual Art Hop, and a display at The Bern Gallery in Burlington Vermont. Soon after college, Andrew went on a pivotal trip to South America. It was these four months abroad that inspired him to move to San Francisco, California and to pursue his art career. Since being in San Francisco, Andrew was the designer for the 2011 San Francisco Carnival poster, a member of the SF Artist Guild, awarded an artist grant, participated in multiple community art shows, and was a featured member at the Wix lounge. While living in San Francisco, Andrew has been a successful commissioned oil painter, selling works to people around the country. At the start of 2011, Andrew started a painting series that focused entirely on light and shadow in nature, represented with blue and white. These works of art created a mood of contemplation and mystery. The concept behind the blue paintings evolved into a desire to represent light and shadow in a very vibrant way that was full of color. This change influenced his most recent works. The artists Maxfield Parish and Andrew Wyeth have increasingly inspired Andrew’s art while in San Francisco. The glow of Maxfield Parish’s art inspired Andrew to study his painting techniques and apply it to his most recent paintings. In the near future Andrew wants to continue to do commissioned oil paintings for clients, develop two new painting series, and have a solo show. One of the painting series will involve nighttime scenes and moonlight, and another will involve golden light and the dark shadows of sunset. Email:





“Fall Color” Acrylic on Canvas 16 x 20

Born in China, living in the San Francisco Bay area, Annette started taking interest in painting after she raised her family in the mid 1990's. She has studied watercolor and attended workshops for acrylics. She is mostly self taught and gets her inspiration from the old masters and travel with her husband. She has developed a passion for painting colorful floral and landscapes. In the recent years Annette has had many solo and group shows across the country and her most recent exhibitions were in a Little Treasure show in Italy and in Artexpo 2013 in New York. Her work has been featured in many international art publications and magazines. She continues to strive to better her skill in order to reflect God's beautiful creation through her art.

“Italian Village” Acrylic on Canvas 18" x 24" “Bird of Paradise” Acrylic on Canvas 12 x 12





Born in Providence, Rhode Island on March 16th,1972. Xavier discovered his passion for art as a child, winning his first award at age 11, from the State of Rhode Island. Xavier attended workshops at RISD (Rhode Island School of Design) from age 12 through his teens. As an adult, he earned a degree in Fine Arts from the Community College of Rhode Island. His first commissioned project was from ESPN Sports in 1995. At age 23, Xavier designed and painted a television set for the first X-Games. He has gained invaluable experience through various mediums and projects over the years, but fine art is his forte. He is currently working with oils on canvas, utilizing a palette knife, brush, and his fingers as his tools of application. Xavier’s creations are an extension of himself. He aims to bring joy to others with his work to stimulate the mind, body, and soul. Xavier adds to his catalogue of artwork on a daily basis. His growing reputation for his artwork has been gaining attention from collectors and galleries throughout Rhode Island, Massachusetts, Connecticut, and New York City. Xavier is also an illustrator, graphic designer, and children's author. He aspires to someday create an art development organization, which will allow growing artists the chance to discover their style, hone their craft, and share their work with the community. Artist Statement: Art is therapeutic. It can teach and be taught. It can be healing to the mind, body, soul, and spirit when needed. It has the ability to transcend time and all the prejudices that follow each decade. Art has been my life since the moment i realized my passion for it as a child. Most of my current work consists of oils on canvas, with some mixed media. My tools include a palette knife, a brush, and my hands. I sometimes use just my fingers to apply the paint, which lends more of a unique aspect to the work; more of an extension of myself. My contemporary work is abstract, and at times symbolic images are camouflaged within the piece. I choose my colors carefully, as well as apply texture, to balance out the twodimensional design. A painting is complete only when I feel it makes sense to me. The beauty of art is in the fact that it can mean something different to every person who sees it. A completed painting gives me a wonderful feeling of accomplishment. I have the privilege of expressing myself, and at the same time, bringing joy to others. Art is a visual documentation of the times, and my artwork will outlive me. Email:





“Penis on Wheels” Bronze Sculpture

“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.” Email:




Born in an age foreign to the present one in the North East of England, attending Sunderland College of Art, before eventually gaining employment in a Land Surveying Company in Manchester. This allowed me to earn a living and keep my artistic independance ,free from any commercial constraints. Through surveying I worked in Saudi Arabia, Africa ( Sudan, Libya and Nigeria), also briefly in Switzerland.Observing the customs and cultures of these various countries uncosciously helped form a philosophical approach to society which , the ideas of which seeped eventually into my art work.After some years my career changed course to move into the area of Mental Health where I qualified as a Psychiatric Nurse, which further gave me an even greater insight into the human psyche, always an area of interest and fascination.After approximately twenty years in this type of work I took early retirement and later moved permanently to France to concentrate on painting full time. The experience of life colours your outlook, your thoughts, ideas, philosophy, religious and political ideology etc., projecting these into an overall personal philosophical ideology.These, with variations are unique to the individual and consequently their response to any given situation within society will be reflected and governed by this personal philosophy.Consequently this approach will also be experienced in their response to art and any visual image ; and it is upon this premise that my work is not titled.If so to do , would then stifle any other interpretation which would correspond to the viewers own life experience being different to my own. I have broad themes and concepts to which I adhere to and then change and then may return to , and attempting to work in an intuitive way as much as possible, it would be extremely difficult to explain these themes which I believe would be a waste of time anyway.It would be an explanation in words of an explanation in visual form of an impression of a perception of various thoughts and ideas. However having said all this I realize that a little overall general ‘hint’ at the theme of the work helps to start the viewer into the journey of experiencing the painting. My interest is obviously in people, their reactions,-outwardly but more importantly inwardly and hidden- and inner psychological interpretations of unfolding events at any instant.Power and manipulation is a theme that weaves itself in and out of my work constantly. The difficulty for me is my attempt to produce a painting which can stand as a work of art, rather than a picture  ; an archetypal image that encapsulates the instant and goes beyond journalism, illustration and fashion. But only the viewer will decide if this goal has ever been reached. Email:




DENYSE GIBBS "What is so exceptional about Denyse Gibbs' work is the level of humanity and sense of poignancy and play she brings to the digital medium. Her large scale works confront the viewer with an insightful and intelligent juxtaposition of theme and medium and by bringing two seemingly diverse components into one format she challenges our way of seeing.   Steeped in a love for the classical and borrowing from periods of history and culture and movements of art and their influences upon one another, she astutely and seamlessly integrates the myriad parts into a cohesive whole; and the result is breathtaking. As viewers what we owe to Gibbs is the permission and license to be irreverent towards our formalized past knowledge of art and its often rigid constructs.   This is not to say that she in any way ridicules what came before.   Rather in her multi-layered and stunningly beguiling images, incorporating myth and history, she offers the possibility of a new sensibility.

“Liber Veritatis (le livre de la Vérité) – Patterdale et Paysage” 59.5”x39” 2013

Born in Melbourne, and currently living and working in Sydney, she has exhibited extensively in Australia, Asia, Europe and the Americas and her work is represented worldwide in national, corporate and private collections. Her works have always challenged preconceived ways of viewing and traditional perception.   From her early analytical three dimensional collages and large Arte Povera silk screens, exploring the synthesis of art and science, her literary approach of combining fact and fiction has been recurrently and meticulously examined.

What is different about this latest work is the breadth and scope of that examination. Her recent work, a series of limited edition large scale format archival digital pigment prints on museum grade fine art paper, entitled "Twenty-one Views of Van Diemen's Land", for the first time in Gibbs' career she makes a conscious ode to her native Australia.   The series of 21 images pay homage to the early colonial artist John Glover(1767 - 1849),   who is attributed to having "invented" Australian landscape painting.   Glover, who enjoyed a successful career in Recency Britain, emigrated from England to Van Diemen's Land(Tasmania) Australia in 1831.   Glover's landscapes of the English and European countryside, although competent were posthumously overshadowed by his more talented contemporaries J M W Turner and John Constable. Once in Australia Glover embraced his new home land of Van Diemen's Land as he set about painting a landscape that had only a passing resemblance to what he saw before him and contrived an Arcadian paradise free from the restraints and guilt of early colonial life and unburdened by judgement from the British art establishment. Acknowledging Glover's legacy of "invention"  and using his work as a template while blending influences Gibbs playfully hijacks art history.  Ephemeral figures effortlessly traverse a multidimensional and embellished landscape pushing the boundaries of aesthetics towards a new vision of events as we are drawn to contemplate and speculate upon the randomness of such events of time and place on the course of art's historical and cultural route." “L'Eden et Orphee” - 39”x59.5” 2012




“Fear of Debasement” Etching” 8”x12”

Elaine Bartholomew Rothwell was born in Minneapolis, Minnesota, on May 8, 1926. Elaine met the love of her life, William Stanley Rothwell, in 1945 just before he graduated from the U.S. Naval Academy and received his commission. They were married two days after Elaine's 20th birthday. Elaine and Bill would have four children and move from the Midwest to California in 1962. The Rothwells eventually settled in a new home in Los Altos where they lived for 35 years. In 2000 Elaine moved her graphic studio from Los Altos to Auburn. In her last ten years her etchings were included in numerous national and international exhibits. Elaine's father Fred was an artist and his daughter inherited his talent and passion for self-expression. Elaine earned a degree in art from San Jose State University in 1966 and spent the rest of her life creating a unique and stylish body of work. While she began with painting, it was in printmaking where she found her true calling. Her teacher and eventual lifelong friend Vibeke Woodbury gave her a start in etching and that became the medium she mastered. Rothwell was first known for her series of etchings using chess imagery and “Knight's Scutcheon Etching” 12”x8” hidden chess positions. In her later series, Art History Mysteries, Mad Meg Amok, and Inklings, she borrowed familiar images from famous artists of the past and arranged them in new settings, forming the basis of an art history game. While many of Elaine's prints were playful and contained hidden images she also dealt with serious themes and a variety of subjects, reflecting her wide-ranging mind and powerful intellect. By means of visual puns, figure-ground ambiguities, and enigmatic images she would seek to baffle the viewers' eyes with visual games, presenting the cerebral pleasure of seeing two things simultaneously, or seeing familiar images in new ways. Rothwell’s involvement in the process by which her etchings were executed was a devout labor. She made all of her own plates, employing traditional techniques of etching and aquatint as well as more experimental methods. Her color etchings are multiple-plate works, each plate carrying a separate color. All Rothwell etchings were hand-inked and pulled by the artist on her hand-turned Sturges Etching Press on 100% rag paper in signed and documented editions. Elaine passed away on June 1, 2011 from complications due to heart disease. Her etchings (signed as E.B. Rothwell) are in the permanent collections of The Triton Museum of Art, Santa Clara, CA; The Newberry Library, Chicago, IL; West Valley Art Museum, Surprise, AZ; and Brand Art Center, Glendale, CA.





“L'eau drée” Acrylic on Canvas 36”x48”

“Recroquevillé” Acrylic on Canvas 24”x36”

Santerre’s work is simultaneously irreverent and thoughtprovoking. They explore the grotesque and sometimes distort reality causing an examination of familiar topics but through a different lens. Through his work, the viewer leaps into Santerre’s imaginary world where fantasy meets bare truth. Santerre Born and raised in Montreal is a self-taught artist whose passion for art manifests itself in many forms since his young age. It took 25 years before his passion to take place full time for good. “”Yeah'l'vis” Acrylic on Canvas 36”x48” It’s in 2003, after years of drawing, Santerre started using the medium of paint to communicate his thoughts. Though challenging at first, his infatuation with expressing himself through acrylic painting forced him to persevere with the task at hand. He discovered techniques of conveying his emotions and thoughts on canvas that in the past he had never been able to artistically capture as accurately. In his Verdun studio, Santerre continues to explore various facets of his universe and transmitting his findings on canvas. His language is unique and emotionally charged while his topics cover a broad range. Since 2010 is art has been seen in New York, Miami and Montreal. Published in art books sold worldwide, invited in many Art Shows around the globe. Santerre is an uprising artist that still has a lot to give. Email:



GIANCARLO FLATI Giancarlo Flati was born in Aquila (I). Since 1986 he has been creating his works in Italy , North Europe and recently in USA. Collections of his art exist in Italy, Sweden, Norway, Denmark, Spain, Germany, Poland, and USA. According to Bortolatto (1), “Flati represents the world in its complexities, grasping the moment in which it organizes itself shapelessly flowing and defining itself ….. in the euphony of spacetime…..In the works of Flati there are tangled woods, metallic nodes, electronic boards, broken glass, grains of sand, stones,and the nutshell sounds of Triton. Every element has the memory of the arpeggio of the forest, the lapping of the waves, the sounds of electronic machines, the inebriation of the wind meeting the clouds. A new polyphony of space, a new melody with multiple voices, a sort of ars nova , a music between art and science” According to Claudio Strinati (2) “Flati is an artist endowed with great awareness. The balance he displays between the spontaneous flow of inspiration and the capacity to reflect on the work produced is a quality seldom found. While he has “Saving light 1”, 2005, Mixed Media on Board 39.3”x39.3” already been active for a good many years, there can be no doubt about the fact that his work fits in perfectly with the renewal of this new millennium. The master has in fact succeeded over the years in developing a highly personal style, deriving in part also from his specific experiences both in art and in science, to the point of bringing wholly spontaneous impulse into line with the results of intense reflection involving a convergence of psychological, metaphysical, technical and spiritual themes......What we see in Flati’s works is a sort of vortex or abyss of molten rock that attracts the eye like a whirlwind whose turbulence is subject to the artist’s vigilant guidance. … And it is precisely the theme of energy that constantly underpins his work. According to a thesis that the artist wholeheartedly espouses and seeks to assert concretely in his work as a painter, this is a dimension that sweeps through all the arts. Attention has thus been drawn to the presence in his oeuvre as a whole of a propulsive force that seems to spring from the primal origin of things, prompting him to think and formulate a kind of “biogenetic landscape” (as Duccio Trombadori describes it) produced by a sort of inner fire that reminds the artist of the poetic world of Mario Luzi. Rightly and repeatedly echoed and cited in his work, what Sandro Dell’Orco aptly calls this “Hermetic-Orphic” world is one that Flati feels so deeply as to make it the substance of his form of artistic expression.” Email: (1) Luigina Bortolatto :Harmony in the cosmic atlas of Giancarlo Flati In “Flati: From Qbits to time’s knots”- Nero su Bianco 2012. (2) Claudio Strinati: Giancarlo Flati in “Intersezioni del Tempo” Matteo Editore 2008 “Song of Time and Gratefulness”, 59”x59”, 2006, Mixed Media


Changing Destinies 1, 39”X39”, 2013 Mixed Media




Music for Yearning(1201) Oil on Canvas, 47”x51”

Music for Bohemian Purgatory(1302) Oil on Canvas, 26”x26”

A part controls the whole” is my slogan while painting. However small it is, the spaces adjacent to the colored parts have a greater importance than it looks. So, I paint all my paintings with a finest brush (#0) to transfer the energy of the uncolored spaces. The thorough plan free from mistakes is prior to others. I have trained myself for leaving the spaces moving my body constantly on the canvas as musical players perform on their stage. We can pass our energy onto others in the process of our movements. With a finest brush (#0), I move very freely on the canvas during the whole work, and surely the viewers would feel the infinite youth and revitalizing energy in them through my works. We die unless we breathe. We breathe and the breathing leads us to move and gain energy to live. The theme of my work is contemporary music containing chaotic and harmonious stories with its rhythm. As a musical piece does, my paintings containing breath and movement surely give off the energy passing onto the viewers. I was born in Seoul, Korea. I’m an awarded artist . Have shown 23th times of solo exhibition nationally and internationally. Graduated from Hongik University, Deft of Sculpture, Fine Art College.(B.F.A) M.F.A at Sung Shin Women’s University Studied painting with Edie Read at Massachusetts College of Art Design.

Music for Yearning(1202) Oil on Canvas 51”x47”




“The Bat” 22” x 36”, Giclee Print

“Hunger Speaks” 12”x18”, Giclee Print

A member of the Port Gamble S'Klallam Tribe, I was raised and spent a majority of my life on our reservation known locally as Little Boston, which is located near Kingston, Washington. Although I am enrolled there, I am also both of Suquamish and Duwamish tribal ancestry.

“Last Son”, 12”x18” Giclee Print

I am a honor graduate from the Art Institute of Seattle, and I have had the privilege to study with Tsimshian master carver David Boxley for a short time learning the basics of Salish form-line design. For the past 10 years I have been employed as Lead Designer/Studio Manager for a media agency called Masterworks. Artist Statement: “I am simply illustrating what many would call modern day myths from the world around us and creating art in the spirit of my S’Klallam ancestors that tells their tales. Not trying to be anyone but myself, finding inspiration wherever it hits me and finding the same joy I had as a kid who use to spend his class time drawing his favorite comic book heroes. A clean piece of paper use to mean something, it was magical, with countless possibilities waiting to be recorded with a number 2 yellow pencil. My art is getting back to that pure state of bliss only a child who has never sat in an art class knows. My work is the desire to take the best of what I know and love, the values in which I was raised, and the legacy of my people and using them all to create something unique, yet identifiable. It is showing the Native world and non-native world that Traditional art can transcend its stereotypes and formal nature to be something else. I am making art that I want to see as both a Native and as a Geek, I am having a helluva of a good time doing it.” Email:





“Saturday Night” Oil and Acrylic on canvas 30”x36”

“Strike the Pose” Oil and Acrylic on canvas 24”x30”

Joyce Fournier is a Toronto based Portrait and Figurative Artist who categorizes her work as a combination of Impressionism and Contemporary Realism. Over the last several years Joyce has become known for her “Fashion Flirt” series. These works depict women dressed to play and often their dresses are designed by Joyce right on the canvas as the painting evolves. They appeal to women and men alike. What could be more fun? A new addition to Joyce’s subject matter is her recent "Accessories" series of fashion handbags which are painted in oil and acrylic on textured wood panel. Over the last decade Joyce has exhibited in several solo and group shows within Canada, the United States, and internationally.  She recently returned from Italy where her works were part the Symphony of Colours international exhibition held at the Duomo Auditorium, Florence in December 2011. She is the recipient of an Award of Excellence from Art Domain Gallery as part of the 2008 Palm Art Award Exhibition for her work ‘In Blue’, Leipzig Germany and most recently a second place Prize of Excellence for ART NOW 3 - The 3rd Annual Juried “Flame” Oil and Acrylic on Canvas 30”x36” Contemporary Art Online Competition /Exhibition 2008-2009 from Artoteque based London England for her work ‘The Promise’.   Joyce’s artworks are found in private and public collections in Canada, the USA, and Europe. Her work has been featured on several occasions since 2009 in the prestigious American Art Collector magazine. Since 2008 Joyce has been the owner / director of STUDIO VOGUE GALLERY in Toronto, representing over 30 artists from Canada and abroad. Email:




Bonjour bonheur Acrylic, Craypas on Canvas

10 years have passed since I ventured into the world of art. I can assure you that I am one of the most influential artists in Japan. My artworks are showcasing vibrant emotions on child’s faces by acrylic, Craypas on canvas. My childhood was not happy one. Distressed by difficulties at home, domestic violence, bullying at school, etc., I even thought about my death in times past. My life was a road beset with hardships therefore I know very well what true happiness is and how precious it is. First 5 years of my artist life , my main theme “happy” was a yearning for happiness which stands at the opposite end of the spectrum from my starting point “unhappy childhood”. However, according to the change of mind in my present life, I started to depict happiness straightforwardly. Now I show my honest feelings such as anger and sorrow. And I also show wholehearted smile. Now 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. Email:

Matthew and Red Little House( 25.6” x 25.6” Acrylic, Craypas on Canvas


“Cry Your Heart Out When You Feel Like Crying” 31.6”x 31.6” Acrylic, Craypas on canvas




“Reflection” Fresco on Panel, 24”x24”

“Awakening “, Encaustic/ Mixed Media on Panel 43”x35”

Kohlene Hendrickson was born in 1958 in California. She studied Fine Arts at the Otis Parsons School of Design in Los Angeles. She worked for 12 years as an illustrator and art director, then returned to fine arts by studying fresco with Frederico Vigil and continued her study of fresco in Italy. She has had numerous solo and group exhibitions in the USA and in Europe. Her works belong to private and public collections in many countries and have been featured on television in the USA. She was recently awarded the "Grand Prix Europeo Albrecht Dürer" by the Accademia Gentilizia Il Marzocco of Florence for her painting AWAKENING. She was also a finalist in the BoldBrush awards for her painting DOUBLE VISION. Kohlene now lives and works in Switzerland. My attraction to ancient painting techniques is the quality of their craftsmanship and the pure essence of the natural materials.  Beeswax, resin, lime, sand, pigments, wood and water. My perception of creativity changed radically after a strong shamanic experience. The message was « that only when you hold nothing fixed can true creativity enter ». I began pouring the paint rather than applying it with a paintbrush. In this process I am dancing between the hazard of the flowing paint and the edge of control. As in life, letting the flow of the universe enter and be directed with life's experience to temper the current. Recently, I included my paintbrush again and have found my personal trinity including all parts of myself. Mind, primal energy and spirit.

“Ora” Encaustic/ Mixed Media on Panel 47”X43”




“Amor 1.1” Mixed Media 18”x24”x12”

“Filla 1.0” Mixed Media 12”x15”x8”

Lawrence has a unique, diverse design background and embodies a renaissance approach to life. He is not only a talented artist, but an accomplished architect, designer and CEO of a dynamic, inter national architecture firm, Ware Malcomb. ( Established in 1972, Ware Malcomb provides planning, architecture, interior design, graphic design and site development services. In 1992, Lawrence and his partner bought the firm from the original owners. Since then, he has led the firm in its successful growth and evolution. Ware Malcomb is considered a leader in design for the commercial real estate industry. The firm has 14 offices in the United States, Canada, and Panama. Lawrence is well known for his strategic, visionary approach to design and business. His focus on creativity and innovation influence all of his artistic endeavors. Lawrence is inspired by modern architects and artists. He keeps many sketch books based on observations and ideas. When Lawrence is not running his architectural practice, he is working in his art studio or traveling with sketchbooks. His international travels have influenced his art as well. He has traveled extensively throughout the world including North America, Latin America, Europe, Japan and the Middle East. Lawrence received his Bachelor of Architecture Degree (1980) and Bachelor of Science in Architecture (1979) from Kent State University, where he also spent a semester studying abroad in Italy. He is a licensed architect in over 40 states and is a LEED (Leadership in Energy & Environmental Design) accredited professional through the USGBC (United States Green Building Council.) He finds inspiration in provoked sensory influences that are spontaneous and involuntarily. Unannounced initial thought may derive from a piece of music, written text, built or natural environment, person, mood, event or any combination of the above. He gestates on a concept for days or weeks, until the appropriate media becomes clear. He then creates a sketch, and tries to understand it for a period of time. The piece then comes out of him very quickly. Several pieces result, produced in rapid succession. Much of his work is done in a small series, and is normally executed very closely to the first flash of light that appeared. He has noticed that the many passions in his life manifest in a similar way. My work, both in Art and Architecture, is an ongoing exploration of the concept of Layers. I have always been aware of, and fascinated by Layers in the Natural and Built Environment. Layers in Space and Time. Layers in Intellect, in Emotion. Synthesis and Interpenetration of Form, of Solid and Void, of Chaos and Order, of Simplicity and Complexity.


“Marana am” MixedMedia 33”x48”




“”La Forza della Sensualità Artistica” 39.3”x27.5”x27.5”x27.5” Ceramica Refrattaria with Patina

Bio-bibliograophy- :  Sculptor  M. Lidia Russo  was  born on  4th october 1964 in cercola -( near Naples) . she lives and works in nearby  Massa di Somma ,      with studio  at 156, Corso tullio Boccarusso . Mobile 3347466764  -Personal  Background : A  multi-qualified artist , Russo attended  the sculpture    and    Raku ceramics Modelling  course avanzato at theAtelier  In Bologna . aThe Materials   is technique   used by    Sculptor - . Bronze  Fusion , Ceramics Refractory -Hard Stone    " Unfinished  Michelangelo . alabastro -Gesso raku Ceramics-  -Art Events : an active participant in the italian ,and international  art life -- Russo  Has   arranged  for several personal  exbitions  and taken  in various  collective art        shows and   recent   of which are worth mention  ing , :   Biennail  the " Chelsea Old Town Hall - London  Art Biennal   2013 Award For Sculpture  Second Prize - - 2013 Biennal   International D'Art contemporary   - whit   Critics   Sgarbi is Levi - -  Palermo - 2013-  Personal  the M. Lidia Russo a The Festival Spoleto  Art September   and Critic S. Terzino-2013-  Exibitions    International  _ Suggestions D'Art moderne  Galeria Thuillier  Paris- France. october  2013 -Biennail   International    Jesolo  -  Prize    Critic international  mention          Prize "Aquila D'Oro-2013.Trofeo - Venice -Russo's  works have been studied  and reviewed  by such  art experts and critics as Levi, .Bianchi , Falossi , Pinto ,  Terzino , Serradifalco , Biondolillo - De Gregorio - She is  present in various  Art Publications  and yearbooks- such  catalogo International Art Moderne -MDS.CID A. Rome -    Cairo Editore Mondadori Milano -  Enciclopedia Pittori del 900  international      Published Casa EditorThe Quadrato Milano -  "2012 Selection    International  Contemporary Artists   V Books  the published     ICA Publishing   New  York -2012- She   has partìcipated in many   Art events _ Florence . Rome , Venice  , Naples, London, Palermo Left: First Image: ”La Dea Madre” tecnica " Il Non Finito di Michelangelo "-  Pietra Dura  Calcarea Salentina 08\ 12\ 2012 \-      15.7”X11.8”X11.8”X11.8 ”X11.8” Second Image: "Un Viaggio nel Salento" London  Art  Biennale  2013  Award for Sculpture  "Second Place-(Gagliardi Gallery :presso il Chelsea  Old  Town  Hall  London -




“Streaming Hope” Digital Print 25”x42”

Flowers have been Mae’s primary subject in creating art using digital medium. She has been intrigued by the structure of flowers, feels that the frailty of flowers is similar to her own emotions. Mae depicts her senses through floral images by incorporating them with an abstract background, which represents a simulated mood for an emotional or spiritual topics. Combining floral subjects with digital technology has enabled her to create a unique pictorial space, which portrays her otherwise indescribable emotional and spiritual statements. My artwork is a combination of intuition and discovery within the digital medium. By combining floral images within synthetic environments, I transform an emotional and spiritual vocabulary to a pictorial image. I have been intrigued by the mysterious structure of flowers, and also I have found that the frailty and sensuality of flowers are similar to that of my own. I work with digital scenes, that looks familiar as if it evokes my subconscious feelings and emotions, whether that is abstract or a simple blush stroke. My artistic goal is to explore this versatile digital technology to achieve magnificent beauty. My desire is that my images can inspire joy and peace, and elicit an enlightening spiritual experience to the viewers of my work. Born and educated in South Korea, Mae Jeon studied commercial art in college in Seoul, Korea. Mae has worked as a graphic designer in Tokyo, Seoul and New York City for 30 years. She retired from commercial artist career to follow her passion in fine art. In 2003 she started work exclusively in digital media as she had her first solo exhibition in digital fine art Mae has exhibited her digital artwork in numerous gallery and museum shows t h ro u g h o u t t h e U n i t e d States and abroad. Her artworks have been featured in various art books and magazines in both the USA and Europe. She lives and works in Staten Island, New York. “Telepathy” Digital Print 24”x18”


“Foreseeable” Truth” Digital Print, 30”x20”




“Woman with silver nose”, Oil on Canvas, 31”x31”

‘’White woman with red shoe”, Oil on Canvas, 47”x39”

Mais is a Dutch contemporary artist. In 2002 she just wanted to make one painting for a wall in her own sitting-room, from that moment that one painting became many more. Mais paint with oil on canvas on a professional level even though she never had a pencil in her hands before, like a self-thaught artist. Mais started exhibiting her work in 2008 and the invitations to exhibit her works internationally started flowing. Mais has exhibited in Italy, Hungary, England, Israel, Germany, Austria, Netherlands and there are more invitations out of countries like Belgium, Spain, Latvia, VS, Africa among others. Mais’s life has taken a shift and now Mais finds herself enjoying a wonderful career as a full time painter discovering new horizons. Mostly a figurative painter with a surreal touch, Mais is always looking for new developments. The colors which arise from her mind during the creative process, can be totatlly different with any of her works. The mixture in her style cannot be placed under one special genre and it is very individual. In every artwork she leaves her personal identification mark. Her works are a reflection of her feelings and intuition. She says “I have the feeling this is me, art is a feeling, feeling is art. It is art to feel real. I really hope that through my paintings I can make the world a little bit happier and colorful like so many other artists do.” As Mais states, she didn’t find painting, painting found her and she has many images in her mind to paint for many more years.

“See you” Oil on Canvas 79”x28”




“Dreams made life” Mixed Media

“Hearts fusion, dreams and culture” Acrylic on Canvas 30”X40”

“Liberty Dreams” Acrylic on Canvas

Mexican artist from Yucatán 80 joint exhibitions, 20 individuals. Twelve years ago she founded the "Dibujarte Art School". Represented México in Vienna during the festivities of the Crown Hope in 2006. Donated her collection "Chichén Itzá: world wonder" when it was designated one of the ten wonders of the modern world in 2007. In 2008 presented the exhibition "Adventures in Chichén Itzá and Uxmal" in homage to Catherwood. In 2009 present the individual exhibition "Where is your brother? Socially Responsible?" Peón was also selected and participated in the International Biennale of contemporary art in Florence, Italy in december 2009. Twelve years ago, Peón began organizing and promoting national and international artist, this exhibition have been presented in galleries, hotels, social clubs, private business and government cultural centers. In 2009 she organized the 7º year of "Between earth and sky", which included 150 artists from around the world that live in Yucatán. This exhibition was the inaugurating exhibition of the Mexican Bicentennial in Yucatán earlier in September. It was presented by the Cultural Institute of the State of Yucatán in the Gallery of Theater Peon Contreras. In October Peón exhibits in the Broadway Gallery NYC in New York City. The exhibition is exclusively for the exhibitors of the Biennale of Florence. During the Art Basel Fair Art, Malena Peón participates at Nina Torres Gallery in Miami in December 2010, The Gora Gallery in Montreal and LuminArt Gallery in Dallas 2011. London 2011 was the World Tour Exhibition of Contemporary Art organized by Nina Torres Gallery in September. Vivid Arts selected Malena for the ARTOUR-O Florence 2012 Temporary Museum of Contemporary Art Auditorium al Duomo and for spring 2012 the "Earth Vortices" International Art exhibition in Castello Estense, Ferrara, Italy. Malena Peón won the fourth place with her painting "Liberty, essence, fly, Firenze" to be in ARTOUR International Magazine. Email:





“Sky” Pastels on Paper 20”x26”

Great works of Art are reflecting not only our impressions about them, but the deepest wishes, which are following every human being. Through my education and many years of work I found out that the Visual Art is all about passing the energy to other people through her symbols and vibration of : lines, color wave lengths and shapes in the surrounding space, while the meaning of the artwork is not only what composition actually presents, but a specifics coded structure of that art piece, that makes a human being able to notice the beauty as a source of harmony… I was born in Belgrade/Serbia in 1976 where I graduated at the University of fine Arts in 2001 as a Sculptor . Currently I live in Chicago where I am working in art studio as a fine artist and as a graphic and web designer, too. Selected Publications: New York Arts magazine, Art Effeto magazine, International Contemporary Masters III , Important Artists Of the World, and soon Artists curated by Vitorio Sgarbi in his new book Important exhibitions: River Art Center in Chicago , Broadway Art Gallery in New York, Southern Nevada Museum of Contemporary art in Las Vegas, Bienniale in Florence. “Peacocks” Pastels on Paper 19”x13”


“Sunset” Oil on Canvas 25.5”X22”



“Triptych” Acrylic on Canvas

A Life Dedicated to Art “My early works were infused with skills developed as a draftsman and honed through years of life drawing and sculpting. I focused on the literal beauty of the human form during this era. For years, I have been fascinated by Goya compositions. I returned to them to study energy and movement in drawings and to translate these into modern idioms. In the series called "Deconstructions," I set these pieces free of all reference to subject matter, while adding vivid, often primary colors to black and white compositions, to re-imagine and reinterpret Goya's concepts in purely abstract terms. The joy of color in their purest forms has become my current focus and allows for the freedom of interpretation by any viewer.” On January 2012 Paul Uyehara passed away at age of 84. His contribution to the world of art is greatly appreciated. He’s given us much inspiration. Viviana Puello 24”x12”x8” TORSO 1 Front View


“Woman Leaning Back” Ink Wash on paper




Raul Cantu belongs to a generation that has grown up professionally in parallel with the explosive development of new technologies. With an undeniable penchant for graphic art and his approach at an early age with computer systems, Raul became interested soon about the potential of the computer to generate images. The art of Raul Cantu can be seen in 3D using Chromadepth glasses. Is a delight to watch as the shapes and colors emerge and deepen through the artwork making the pieces unique Many years of experience in digital image generation, editing, post-production and effects, and his knowledge on computer systems allow him to dominate the hardware and software he uses for his artworks. Raul Cantu has been incorporated in recent years each of the rapid advances in technology to work as an image producer. No wonder he has dabbled in digital art and photography. By contrast, in Raul Cantu creative vocation is the beginning, the essence and the driving force behind his career as a producer and aesthetic research that explains his work as an artist. Email:



REIJA KARJALAINEN “Dinner Party” Oil on Canvas 52”x37”

I planned to become a lawyer and studied in Lund in southern Sweden, quit, worked among other as a s s i s t i n g n u r s e ,  o c c u p a t i o n a l t h e r a p i s t and framemaking before I found the artist in me. …newly separated and my world had come apart. My two-year old boy fell asleep early and evenings were long, too often meaningless. Within me, creativity began to grow...  My child firmly on my hip, I ran to the store in Stockholm (5 minutes before they closed) to buy canvases and colours. I did one painting and felt happy again. That's the way it started. The year was 1996.  Years are passing and I can't stop creating. It has become a challenge to keep evolving. At this point I know images just  comes within me. I don’t have doubts anymore. All bad turned to something very good and it is a privilege to be able to share that feeling. One day a little boy reflected. Then he said “Kronhem is such a beautiful place and I understand how you can create nice paintings here. I am comfortable here too!”  That’s how simple and modest  my drive is.  I seek what is good Email:

“She”Oil on Canvas, 28”x29”

“Kura Skymning(Nightfall)” Oil on Canvas 86”x28”





With Bachelor degrees in both: Fine Arts and History of Art, Rollande Dufault is a professional Canadian artist who has been active in promoting contemporary art on the international stage in cities such as Paris, New York, Miami, Bruges… winning at the same time numerous awards.



SHARON T. ROSS After a 30 year career as a Nurse, my life has taken a new path, as an Artist. Since graduating with a Ba Fine art in July 2011 I have been working hard to establish myself as a professional artist. I have exhibited in New York and Florence, as well as Liverpool, Bristol in the UK. I continue to work as a nurse and I am lucky to find that happy balance between my art and my work as a nurse. My long career as a nurse, the death of my mother in my childhood has had a profound effect on me. Not only as growing up from a child to a woman but spiritually as well as my life journey. I believe things happen for a reason, and I feel strongly that I am meant to be an artist.

“Behind the Velvet”, 2013

My work tends to be in two mediums, oil and pen and Ink. I am an expressive artist and I use my art to portray my feelings and emotions. My pen and Ink work are a form of Zen Meditation using the circle in a repetitive manner as a means of shading and providing form and tone to the piece. My work is an expressive abstract form mainly figurative, but I am also exploring landscape. 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 Oil on Canvas, 31”x39” 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 has progressed within dissimulation and I have moved slightly away from the mask and use the female figurative form in an abstract way using pen and ink and the Zen meditation art, as well as exploring using oils as a medium. My work deals with the spirituality of both the artist and the subject, containing both a calming influence and emotive feeling through the atmospheric nature of the subject. 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. Email: “Fields 3” 2011 Oil on Canvas 20”x20”


“With Rings on her Fingers”- 2013-Oil on Canvas-39”x39”




Varda Breger’s works and poems deal with the conquering of nature by man, and the painful relations in human society. The lack of balance between progress and nature, resulting from man’s failure to conserve and distribute the resources on the planet amongst its inhabitants, is manifested in the disappearing variety of life especially the extinction of wildlife. Breger uses mixed media technique on paper in her paintings. Streams of dilute paint are caging blurred trampled animals, women, and birds. Varda Breger was born in Israel, lives and works in Tel Aviv. She has displayed her works at more than twenty five solo exhibitions, and she participated in many more exhibitions and international symposiums in Israel and abroad. She was invited and took part in international symposiums in Slovakia, Germany, Bulgaria, Italy, Finland, Austria and England. She is a member of the Israel Forum of Ecological Art, the European Artists, and the Tel Aviv Artists and Sculptors Association and was elected to AFC Artists for Conservation and ANF-Artists for Nature. In 2004, she was awarded the Franz Kafka medal for Art by the European Circle Franz Kafka. In 2011 she was awarded second Leonardo prize for works on paper in the Biennale Chianciano Italy. In 2012 she was awarded first Leonardo prize for works on paper in the International Prize Exhibition Chianciano , Italy. Honorale Mention in the 2nd art contest 2012 organized by ATRAVITA and sponsored by WORLD WIDE ART BOOKS. Her book "Planet Of Life" paintings and poems was published in the end of 2012. "Second Award for painting in the BienalIzmir in which took part 450 Artists from 53 countries" A RESPONSE Under the wash of mud, blood, tire tracks and shoe prints, in a series of stunning paintings, Varda Breger explodes as an artist of tremendous emotional power. Layered images emerge like ghostly comments on the immediately perceived image. The stains of light in the soft eyes and on the skin of the doe momentarily deflect the viewer from the barbed wire that is lacerating it, the hedgehog lies beside the tire track. From the vulnerability of the little fox to the self-aware nobility of lioness and tiger, from the rampant maleness of elephant and rhino, from the gold-steeped herons drinking at dusk, from swift to hawk, Varda Breger encompasses the swing from breathless love to anguish and back again that artists and lovers must face every day of their all embracing lives. Riva Rubin. Varda Breger




“Paulo Teixeira Lopes's painting delves into the ether of the existence of conflicts and parallel feelings that involve us in the question about life and its meaning.” Delfim Sousa Director of House-Museum Teixeira Lopes In a blend that combines three-dimensional sculpture and painting, Paulo Teixeira Lopes shape colors and forms that are not limited to canvas dimentions. This serves as a projection space where images, sometimes abstract in a first glance, demysty this same concept. Everything begins to make sense in a context dominated by emotional awareness of the senses. These studies are performed on demand of the essence of communication, the emotions. Colors and shapes blend so emotional communicating to the viewer the structures involved in emotional theme portrayed, causing a deep reflection based on their own references of growth and evolution. “Fable” 19.6”X27.5”Amarmus, new project.

Last project: “Etérium – the Journey”, 2007-2012 / Painting, poetry, filosofy, music, ballet. Thoughtful and systematic reflection about the meaning of existence and life, where each canvas asks a peculiarity common to us all. Birth, Life, Death ... End?! Book with DVD: “Etérium – the Journey”, o’Porto 2012 / Painting, poetry, filosofy, music, video.   Next release: “Amarmus, love in color and shape” / Painting, poetry, music, theater. A Reflection on ways of loving. How we see ourselves and each other. Dimension of human relationship. Roses as a symbol of the relation of I and Thou. “Life in an orgasm” 47.2”X27.5” 2011


“Etérium” 70.8X70.8” 2007




“Observation” Mixed Media on Board 24”x24”

“Hurry” Mixed Media on Board. 24”x48”

I am intensely moved by a notion of a “connector”—an umbilical cord, if you will—which joins us to knowledge, harnessed in the distant past, but driving us into an uncertain future. My recent interest in the fragmented forms of futurism brings this sensibility to the present day. The contemporary world is similarly disjointed as we are bombarded each day by information from competing media. My paintings are born out of a sense that in the midst of this whorl of media and information there is a calm eye to the storm. I believe that we have lost a connection to this center, just as we have all but lost access to a more fundamental, ancient knowledge. My work, with the use of collage, looks to give shape to this knowledge’s hidden forms, uncovering a personal sense of a past we all share. Email:



“The Story of Rules” Mixed Media on Board 48”x48”

An artist from Moscow. I’m engaged in Chinese painting since 2002. My hobbies are mountain tourism, travelling, philosophy of the East (India, China) - all these things have opened up for me a way to the wonderful world of ancient Chinese painting Guohua. Since 2003 I participate in exhibitions and work with designers. Since 2011 I give classes of Guohua painting. Since 2007 my paintings are purchased for private collections. Since 2009 the following exhibitions hosted my works. "Cognition of beauty and joy of life, its unity does not require exceptional conditions, but to keep this joy, it is important to have a positive perception of life itself. …The basic principle in my work is to express the unity of man and nature through incompleteness, uncertainty, purity of forms.  …In my vision  painting guohua brings to the condition of Unity of life in the most gentle way. ". Email:

“Montagnes pourpres. Sibir.Altay” (Guohua, xiao sei. Rice paper, mineral paints- watercolor, ink)

“Birch. Springtime” (Guohua, xiao sei. Rice “Steppe in the snow” (Guohua, xiao sei. paper, mineral paints- watercolor, ink) Rice paper, mineral paints-watercolor, ink)



ERIC WILES My work can also be found in the below listed magazines and publications: Modern Painters Magazine, Aesthetica Magazine, International Contemporary Artist book Vol IV 2012. Art in America Annual Guide, 2012 Exposure publication, 2012 Art Takes Times Square publication. Email:

“Oahu Coast”

Born in Chicago IL. USA amidst great architectural and old world surroundings , I groomed an eye for the beauty of art and photography. Being a world traveler at an early age enstilled the appreciation of earths beauty and the allure of man made objects. As a self taught photographer it is my endeavor to creatively convey my vision of intriguing subjects in pure form . The fascination with natural beauty and man made objects promote the direction of my work and creative flow. Photography allows me the opportunity to capture moments in time and creatively share this expression of beauty through Still Life, Fine Art and Landscape imaging.



“Antiquity” Acylic on Canvas 40”x30”

“Rules for Radicals” Acylic on Canvas 40”x30”

Jim Lively is an attorney who left the practice of law to pursue his passion full-time as a contemporary figurative and abstract artist. While he has been painting many years, he only began publicly exhibiting the latter part of 2008 due to his career as an attorney. Jim’s works have been recognized in numerous juried competitions and publications. In addition, he has participated in several group and a solo exhibitions across North America and in Europe. Jim has published four books containing images of his art including two novels. The most recent novel “The Puzzle Aesthetic” is available on Jim is currently an Art Director and General Counsel for LuminArte Gallery in Dallas Left: “Layers of Civilzation” Acylic on Canvas 40”x30”





“Temptation of St. Anthony”

My work can also be found in the below listed magazines and publications: Modern Painters Magazine, Aesthetica Magazine, International Contemporary Artist book Vol IV 2012. Art in America Annual Guide, 2012 Exposure publication, 2012 Art Takes Times Square publication.

“Human Helplessness”

Fine art, including oil, water colors, guache, tempera, acrylic, ink, sepia, pastel, charcoal, collage, mix media, instalatios, silscreen, work on glass, satained glass, monumental work like murals 'al fresco, mosaic or  bass-relif, etc.


“The Ancient Future”


“Explosion of Color” Acrylic on Canvas

“Past Times” Acrylic on Canvas

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. 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.



TANYA ALVITS Tanya Alvits was born in 1970 in Copenhagen, Denmark where she still lives. She is an autodidactic artist working both abstract and figurative. She has had both group and solo exhibitions in Denmark, USA, Germany and Sweden and besides that she has also participated in the VIII Biennale di Firenze in Florence, Italy and been represented at the contemporary art show Art Monaco ’13. Email:

“Cranium - Skull Roller” Acrylic on Canvas, 15.7”X15.7

“Factory Line” Acrylic on Canvas 31.4”X 39.3” “Untitled” Acrylic on Canvas, 31.4”X 31.4”



“Luminous Lights” Mixed Media on Canvas

“Rising Plateau” Mixed Media on Canvas

Influenced by modern masters such as Picasso and Pollock, Wendy Cohen’s dreamscapes of abstraction takes us to an adventurous journey of visual excitement and fantasy. Inspired by her travel and life experience, Cohen experiments with a variety of media and the surface of her canvas. With her colorful palette and expressive style Cohen’s rich textured paintings are infused with a sense of healing, well-being and spiritual energy. Focusing on the human form, influence by African art, her spontaneous work of feerless brushstrokes and invigorating freedom leads us to embrace the human experience and its full range of emotions. Wendy says that her inspiration lies in the way she continually challenges herself with stimulating ideas that rise above the predictable and the mundane.Her works are a feast for the eyes and as she was born in Cape Town, South Africa, Wendy grew up being influenced by the rich and majestic african culture. She presently lives and works in Sydney, Australia where she has been exhibiting her work since 2004.



ATIM’S TOP 60 MASTERS OF CONTEMPORARY ART 2013 Designed & Published by Arttour International Publications Inc. 601 W. 174th Street S 4C New York, NY 10033 WWW.ARTTOURINTERNATIONAL.COM

Atim Top 60 Masters of Contemporary Art  


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