OBSERVICA Loading ... Please wait
Issue# 2 Spring 2019
Dieneke Tiekstra Damiano Miro Sera ni Hoonaz Afaghi Gary Irving Zoi Pappa Noriko Obara Envy | W:20.00 H:36.50 D:5.00 in | by Gary Irving
published by
a contemporary art magazine providing art reviews, artist introductions, art tips, critiques, interviews,news, competitions, articles and ads
OBSERVICA M a g a z i n e
Issue# 2 Spring 2019 May - 2019
biafarin.com/observica2019spring
powered by
biafarin.com
OBSERVICA Magazine
Code:
MGZ852218197
Link:
https://www.biafarin.com/observica2019spring
Date:
15-May-2019
Publisher:
Discover the Artist
Observica is a Canadian contemporary art magazine. It's a quarterly magazine which has been established to represent art reviews, introductions and events of artists from all around the world. This magazine is an online media. Thousands of readers view the magazine pages using various devices and platforms in the distribution network which covers North America, South America, Europe, Asia and Oceania. It is distributed on Amazon, Nook and other famous publication network. It is readable on web browsers and other e-book reader applications.
Dieneke Tiekstra Damiano Miro Sera ni Hoonaz Afaghi Gary Irving Zoi Pappa Noriko Obara Christine Lavanchy
Time traveller Sculpture, Modeling Sculpture Technique on Carton W:23 H:62 D:36 cm 2019 D ieneke Tiekst ra
AW127859534
♡
OBSERVICA
7
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Dieneke Tiekstra Sculpture
BerendinaSjoukje (Dieneke) Tiekstra (1957-10-15,Haarlem, The Netherlands) is besides her function as team leader addictiontreatment a sculptural artist and co-director of the art galleryRueb&Tiekstra at Rijpwetering, the Netherlands. Time line Already at an early age she wasfascinated by sculptural design. At the age of 13 her father gave her severalcans with polyurethane foam. With these she made her rst large object a totempole. From then onwards everything she laid her hands on was transformed intoartistic objects: from printed circuit boards a view of a town, from paper acello player, from driftwood a boot etc. Her motivation to be creative grew andgrew over the years. More and more she made and showed these works of art toher friends. In addition to the sculptural design technical pieces were made tobe used for secondary education. After years of making technical end creativeobjects she realized that the making of these sculptures not only made her feelgood, but also that other people appreciated and became happy of her work. Bygraduating, in May 2018, at the Art Academy Haarlem/Leiden she gained moreknowledge of the fundamentals in sculptural design. This study will also be aprelude to work independently as an artist. Awards Frida Kahlo International Prize:5 April 2020 Mila, as nalist CFA "Artist of the Year": 2019,as nalist Re:artiste "Transformation": 2018 rst prize; a week long artist residency Manhattan,New York City, USA Blooom Awards, Germany: 2018 Shortlisted The London International CreativeCompetition: 2017 Shortlisted The 12th Arte Laguna Prize 2018: BiafarinPrestige Award The 11th Arte Laguna prize 2017: BiafarinHonor Award Other Art Activities Co-director Art Gallery Rueb & Tiekstra
OBSERVICA
8
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Decline of the Earth Sculpture, Modeling Sculpture Technique on Carton W:22 H:30 D:33 cm 2019 D ieneke Tiekst ra
The Decline of the Earth is one of the gures in the series "the Evolution of Man", together with Bits and Pieces, Time traveler, Flood and Last man Standing. Materials: puzzle pieces, end thread, wood- and modi ed polyurethane glue plastic, spray paint and wood.
AW127631676
♥
OBSERVICA
9
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Bits and Pieces (2) Sculpture, Modeling Sculpture Technique on Carton W:70 H:90 D:80 cm 2018 D ieneke Tiekst ra
Part of the serie "Bits and Pieces". See for description: grouppicture Nickname: mini-mouse
AW127222768
♡
OBSERVICA
10
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Last man Standing Sculpture, Modeling Sculpture Technique on Carton W:20 H:70 D:20 cm 2019 D ieneke Tiekst ra
Last man Standing is one of the gures in the serie "the Evolution of Man", together with Bits and Pieces,the Decline of the Earth, Time traveller, and Flood.Materials: puzzle pieces, end thread, wood- and modi ed polyurethane glue plastic and wood.
AW127931740
♥
OBSERVICA
11
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Flood Sculpture, Modeling Sculpture Technique on Carton W:70 H:30 D:30 cm 2019 D ieneke Tiekst ra
"Flood" is part of the series "Bits and Pieces - The Evolution of Man" about how humans will evolve and how our future will look like. Do we survive or do we destroy our planet and will everything be ooded. Materials: puzzle pieces, wood- and modi ed polyurethane glue plastic, spray paint, wood and plastic.
AW127481558
♥
Dark and Fabulous. Inks Drawing, Ink Painting on Paper W:89 H:126 cm 2018 D a mia no Mirò Sera ni
AW127659400
♡
13
OBSERVICA
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Damiano Miro Sera ni Painting, Calligraphy, Illustration
Damiano Miro Sera ni, born in Cento, in the Ferrara province of Italy, on 19 December 2000. Damiano currently lives in Firenze, where he attends the Liceo Classico "Galilei". He has a special predilection for the gurative arts, appeared very early in his life with a clear inclination to drawings, particularly ink drawings. Subsequently, he grew a love for literature and writing, leading him to his rst novel, "Eracletito", and a second one, “Odling�, recently completed, while working to re ne his art in watercolor and gouache techniques, to illustrate his literary works too. Damiano's work is selected by various art organizations and private collectors. In 2018, he was selected as one of the 30 nalists in Painting section on 12th Edition of prestigious Arte Laguna Art Prize and won Biafarin Honor Award at the same year. Recently, he is chosen to be featured in Juliet Art Magazine and also won the Excellence Award of Circle Art in Feb. 2019.
OBSERVICA
14
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
The Dreamer Drawing, Ink Painting on Paper W:25 H:34 cm 2018 D a mia no Mirò Sera ni
AW127161440
♡
OBSERVICA
15
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
The Fight of Philosophers Drawing, Ink Painting on Paper W:25 H:34 cm 2017 D a mia no Mirò Sera ni
The academic environment is commonly associated with the univocal, unanimous and slavish execution of an artistic canon, which therefore can not leave room for the aesthetic and ideological debate. In this Academy, however, not only is the debate, but it is also, so to speak, strongly involved, so much so as not to be content with a verbal confrontation but by thoroughly investigating the resources of "direct" persuasion. The ideally represented opposition here of the neoclassical tradition and of the neo-gothic instances, which took place at the beginning of the 19th century, was a struggle of philosophies as well as of aesthetic visions and for this reason it was so tenacious.
AW127752384
♥
OBSERVICA
16
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
New Gothic - Odling Builds the Tower Drawing, Ink Painting on Paper W:25 H:34 cm 2018 D a mia no Mirò Sera ni
AW127518992
♡
OBSERVICA
17
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Follia Drawing, Ink Painting on Paper W:25 H:34 cm 2018 D a mia no Mirò Sera ni
AW127370440
♡
Tree 1 Painting, Acrylic on Canvas W:80 H:120 D:5 cm 2019 Hoona z Afa ghi
AW127836770
♡
19
OBSERVICA
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Hoonaz Afaghi Calligraphy, Graphics, Painting
Hoonaz Afaghi was born in 1973 in Tehran, Iran Art Categories: Painting, Graphic Design Education 2001- Master of Arts in Graphic Design from AlZahra University, Tehran, Iran Membership Continuous Member of Iranian Graphic Designers Society 2018- Selected Artist for 5th Annual International Exhibition Calligraphy 2018- Selected Artist for 9th Annual Juried Exhibition, 50/50 queen gallery.ca/2018/06/50-50-exhibition-8th-anniversary-of-queen-gallery 2017- Selected Artist for Art Parma Fair www.giorgiobertozzi.it/eventi/artparma-fair-2017 2017- Selected Artist in Calligraphies in Conversation Competition, Berkeley, California, USÂ www.ziyaart.com/copy-of-cinc17-accepted-works 2016- Honorable Mention Artist in LICC 2016, London, UK www.licc.us/en/zoom.php?eid=2-20722-16 Presented artist by Capital Art London:capitalartlondon.uk/artists/hoonaz-afaghi Tara Gallery taragallery.org/artists/hoonaz-afaghi Art Center:art-center.ir/artists/Afaghi
OBSERVICA Issue# 2 - Spring 2019 biafarin.com/observica2019spring
20
Life-Cycle | Painting, Acrylic on Canvas | W:140 H:80 D:3 cm | 2018
Hoonaz Afaghi: The Universal Soul of Nature Andrea Guerrer Art Critic
Since the gra ti in prehistoric caves, mankind has expressed through art its deep connection with nature. Initially it was elementary signs that responded to magical and religious needs, which over time evolved into more complex images. Nature has always nourished the collective imagination and inspired artists from all over the world with its inexhaustible archive of shapes, textures and chromatic ranges. Starting from the last century, nature in art has also recovered its mysterious character, it has become a refuge and a way to escape for the man who is oppressed by the frenzy of contemporary society, seeks in it secret correspondences with his/her own moods and a renewed sense of belonging to the life of the universe. These spiritual instances have radically altered the pictorial depictions of the natural elements in the direction of an increasingly less realism. The artists have begun to communicate their vision of the world through geometric lines, abstract shapes and colors so that a barely sketched shape or a hint of chromatic gradation were enough to bring out the naturalistic reference. Many artists in their search for the lost unity between man and nature became interested in archaic cultures, which rejected a clear distinction between man and other beings. For the primitives,things had a soul or strength that gave them life and the magic was based on the belief in "hidden connections" between all beings and therefore also between man and natural elements. To visually highlight these formal and symbolic a nities, painters who have favored an abstract language subject of nature worked toward a process of analysis and synthesis, at the end of this process, the canvas shows a new mental panorama in which nature is the manifestation of the inner perceptions of the artist in relation to the landscape, he/she is watching or imagining. To this category belongs also Hoonaz Afaghi(1973, Tehran), an Iranian artist who, after an initial creative approach to the calligram, chose to gradually move away from the line to arrive at pure painting.
21
OBSERVICA Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Her paintings, made with an opaque palette that incorporates all the animal and vegetal nuances present in nature, reveal the unique rule that regulates everything; which the Swiss painter Paul Klee (1879 1940) wrote in his Diaries. The silences and epiphanies evoked by her paintings lead the viewer to the discovery of that spirit, or vital principle, which lies latently beneath the surface of reality and which generates and governs human beings, animals, trees and mountains. The privileged subjects of Hoonaz Afaghi are details of trees, rocks, leaves or animals in which the real visual data is decomposed and divided to reach the minimum and indivisible unity of matter and reach its essence, that universal soul of what exists on the life-cycle painting is based. The artist mentally circumnavigates the subject to be represented and analyzes all the parts to return it in a condensed image that goes beyond the concept of time, intended as a chronology of events to allude to an eternal simultaneity of dense moments. In her compositions there is no distinction between gure and background and the acrylic color simulates everywhere the same indistinct organic paste of which the world is made. In some areas the chromatic layer appears to be stretched in a uid way, while in others sit thickens in elaborate layers; sometimes it seems to expand freely on the pictorial support, sometimes instead its propagation appears governed by lines and contours that suggest enigmatic outlines of structures. The absence of sharp boundaries between the various elements that make up the vision and their metamorphic nature does not imply that the images are irresolute and poorly structured, but on the contrary manifest the awareness of a higher order that passes without interruption from one element to another. Emblematic in this regard are the paintings of the Tree series, where the tree-matter, indi erently understood as crown, leaf, wood, trunk, forest or branch, is investigated as if it were a primary mythological entity that overwhelms the human being with its luxuriant and multi-faceted beauty. Just like Paul Klee; also Hoonaz Afaghi’s naturalistic painting is the most immediate way to express a determined Weltanschauung (idea of the world), which would not be misleading to de ne animistic. Her symbiosis with the landscape is so accentuated that from the outside it is almost impossible to guess whether in her paintings the visual references to nature are to be interpreted as a metaphor for an existential condition or if instead human emotions are shaped by the depicted biomorphic scenarios. The constant search for chromatic harmony and formal balance (regardless of whether the vision has a calm, joyful connotationsa, melancholic or disturbing) demonstrates how at the basis of her poetics there is a cyclic and circular conception of life, in which each element settles down and transforms itself in relation to others. Particularly expressive in this regard is Disturbed, a brilliant essay in compendiary painting in which a few quick gestural brush strokes sketch an ambiguous silhouette of a woman in total fusion with the imaginary landscape that surrounds her, to the point that she herself seems to assume the appearance of a rock that stands proudly towards the sky despite the wind and snow. And precisely by recalling the ancient intuition of all existances through artistic interpretation; creates a profound sense of liberation and pleasure that one feels by looking at Hoonaz Afaghi’s paintings, in which the inevitability of everything that happens on the canvas clears every hypothesis of con ict and regret. The depth of her observation, which is applied with the same intensity to the in nitely small as to the universal, makes it clear that abstract painting can be an instrument of spiritual research intimately connected with the ancestral forces that shape and perpetuate the mystery of life on the Earth.
Hoonaz Afaghi
OBSERVICA
22
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Tree 2 Painting, Acrylic on Canvas W:120 H:90 D:5 cm 2019 Hoona z Afa ghi
AW127353666
♡
OBSERVICA
23
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Disturbed Painting, Acrylic on Canvas W:110 H:140 D:5 cm 2018 Hoona z Afa ghi
AW127263776
♡
Pride Mixed Media, Mixed Media on Canvas W:20 H:36.50 D:5 in 2015 - 2017 Ga ry Irving
AW127076880
♡
25
OBSERVICA
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Gary Irving Digital Art, Painting, Photography, Sculpture
Gary Irving is a multimedia artist with a digital studio located in Santa Cruz, CA who is known for his highly stylized narrative photo-composites. Irving uses Photoshop to combine subjects from di erent frames within a background to create a story in the manner of a painter. Starting with the concept, he photographs the subjects in his studio and then places them digitally into a background. Originally developed for a commissioned calendar project for the popular Santa Cruz Derby Girls, Irving has used this style on four other distinct series: Santa Cruz Skateboard Legends, Surf Apocalypse, Zombieland, and Dark Portraits. Having grown up in a small Welsh town, called Swansea, Irving moved to Santa Cruz in 1994 and has since established himself as one of the premiere visual artists working in digital medium in Central California. Originally interested in drawing and painting, Irving incorporated photography into his practice for source material and to document his work. Eventually, his interest in photography outgrew his love of paint and he immersed himself fully in the pursuit of mastering his technique. In order to make the most cohesive nal composition, Irving has to light the subjects in such a way that they will t together within the background without the viewer’s attention being drawn out of the scene to its construction. Toward this end, he has studied studio lighting, digital photography, and editing techniques to make the most compelling nal composition. As an artist, however, Irving is much more interested in the creative process and in working with people than with technology or technical details. Working with friends and models, he invites people to inhabit creative roles and the work is charged with collaborative energy. Indeed the darkness of the themes (horrors of zombie carnage, a coastal dystopia, alien abduction, etc.) helps to create the suspension of disbelief that invites both the participants and the viewer to have fun imagining the scene. Having fully integrated painting, photography, and storytelling in his work, Irving is now moving toward sculpture by building highly elaborate frames for a series he’s doing on the Seven Deadly Sins. Each frame is hand constructed and is full of symbolic details so that the frames themselves will be in dialogue with the digital compositions. With this combination of media, Irving is attempting his most fully pre-visualized series to date. Combining the digital and the analog through photography, sculpture, and narrative, Gary Irving is making compelling and striking contemporary multi-media art.
OBSERVICA
26
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Envy Mixed Media, Mixed Media on Canvas W:20 H:36.50 D:5 in 2015 - 2017 Ga ry Irving
Divine retribution is supernatural punishment by deity in response to some action. The sin of wrath can be seen in the production of genetically modi ed food. When humans discovered agriculture, we began to destroy the land as we sucked nutrients from the Earth. In response, mother nature brought the dust bowl upon us and was unable to provide the food we needed. Being the sinful creatures that we are, we took food creation into our own hands, as if to say, “How dare you not feed us, watch us pump chemicals into you and feed ourselves!” We chose to play God, and bring our wrath upon the Earth. However, with an ever expanding population, continuing to feed ourselves with genetically mod...
AW127417580
♡
OBSERVICA
27
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Gluttony Mixed Media, Mixed Media on Canvas W:20 H:36.50 D:5 in 2015 - 2017 Ga ry Irving
The sin of gluttony is represented here in the over-consumption of food. Humans are the only animals that gather more food than is necessary for survival, and are then wasteful of that food. Genetically modi ed sh, and the evolution of sh farming, are a prime example of this. We are creating and raising mass amounts of animals in small, unnatural, and unhealthy spaces for the purpose of enabling over-consumption through the food industries. They harbor diseases, equipment and pollution is left behind (represented here by the hooks,) and production as well as the byproduct is unsustainable for the environment.
AW127416980
♥
OBSERVICA
28
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Greed Mixed Media, Mixed Media on Canvas W:20 H:36.50 D:5 in 2015 - 2017 Ga ry Irving
One of the many ways in which humans commit the sin of greed is the the production of wind farms. Wind farms are built in areas with high wind, which are also known to be areas that birds utilize for ying through and often focus on the ground looking for food. Thus the birds end up being killed. In fact, we don’t even have an accurate idea of just how many are killed, because predators like coyotes will clean up many found on the ground. This again leaves the ecosystem unbalanced. Additionally, there are studies now showing that bats are also being killed in these areas as the farms take from the air and they su ocate. The more energy we use, the more we want, and with the progression of ...
AW127718360
♥
OBSERVICA
29
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Lust Mixed Media, Mixed Media on Canvas W:20 H:36.50 D:5 in 2015 - 2017 Ga ry Irving
The sin of lust can lead to rape. Shown here is how people have raped the Earth’s land by clear cutting and deforestation. The rainforest is being destroyed at the outrageous rate of 150 acres every minute. Trees and plants are the lungs of the Earth, and yet we are destroying what gives us the air we breathe in order to ful ll our lust for money. This not only eliminates the vegetation but kills other living beings like orangutans, squirrels, and tree dwellers, and upsets the entire ecosystem. The damage doesn’t stop with the organisms of the forests. Uprooting causes landslides and mudslides which changes the entire dynamic of the land and can be life threatening to humankind too. The log...
AW127387320
♡
Axis Mundi Painting W:52 H:76 D:1 cm 2016 Zoi Pa ppa
AW127768564
♡
31
OBSERVICA
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Zoi Pappa Painting, Photography, Sculpture
Zoi Pappa was born in Feb. 1975 in Athens, Greece Art Category: Painting, Photography, Sculpture Artistic Career Since 1998 Education 2002- Master of Fine Arts of Glasgow School of Art,University of Glasgow, Scotland Awards 2017- Winner of Biafarin Honor Award in 11th Arte Laguna Prize 2016- Winner of the International Contest T.I.N.A Prize. 2015- First Winner of the International Contest Nuovi Mondi, Corte, Rome, Italy 2014- Awarded in Bene ts of Celeste Prize with a Group Show in Format Gallery, Milan, Italy and a Solo Show in Site Speci c, Scicli, Sicily, Italy Exhibitions - Holding Solo Exhibitions in Greece and Italy. - Participation in Group Exhibitions in Greece, Spain, Italy, UK, Chile, Russia, Lebanon, Japan, Croatia, Cyprus, Switzerland, Syria. Seminars 2004- Future Leaders Orientation, ‘Leader 2010: Leadership and Ethics’ 2002- Contemporary Issues in Fine Art with the Art Historian John Calcutt 2001- Visiting Helsinki, Norway to participate in an international exchange project organized by NIFCA (Nordic Institute for Contemporary Art), in order to have discussions with the curators and artists of NIFCA.
OBSERVICA
32
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Science Garden Painting W:270 H:120 D:1 cm 2014 Zoi Pa ppa
Science Garden belongs to the series Gardens. A poetic transformation of science and research sphere into a spiritual world. where everything is combined and related. Science that grows and ourish from nature. “Gardens” is a series of artworks That I am working under the concept of the new worlds. The core of the project is the idea of experimenting in the processes of perception. Nothing is as it seems, nothing is for granted. Worlds of transience where subjects, objects, and territories live states of continuous transformation and facing surprisingly their potential renaissance, creation, evolution, dissolution and disappearance. This juxtaposition highlig...
AW127960052
♡
OBSERVICA
33
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
When The Day Is Done Painting W:64 H:69 D:1 cm 2016 Zoi Pa ppa
AW127709496
♡
OBSERVICA
34
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Eva's Garden Painting W:68 H:76 D:1 cm 2017 Zoi Pa ppa
Eva according to the creation myth of the Abrahamic religion was the rst woman ancestor that lived with Adam and God in Garden of Eden. Eva fall into the ancestral sin[1], the fall of the man. The fall according to Christianity brought sin into the world, corrupting the entire natural world, including human nature, causing all humans to be born into original sin, a state from which they cannot attain eternal life. This condition has been characterized in many ways, ranging from something as insigni cant as a slight de ciency, or a tendency toward sin yet without collective guilt, referred to as a "sin nature", to something as drastic as automatic guilt of all...
AW127951012
♥
OBSERVICA
35
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Sacred Garden Painting W:156 H:250 D:1 cm 2016 Zoi Pa ppa
Sacred Garden belongs to the series Gardens. Sacred symbols, wings, sculls, scales of transgressions and good acts, pendulum for telling fortune, sacred geometry, anatomy and divinity. High mountains are typically regarded as sacred by peoples living near them. “Gardens” is a series of artworks That I am working under the concept of the new worlds. The core of the project is the idea of experimenting in the processes of perception. Nothing is as it seems, nothing is for granted. Worlds of transience where subjects, objects, and territories live states of continuous transformation and facing surprisingly their potential renaissance, creation, evolution, dissolution and ...
AW127598684
♡
Book Worm Installation W:1500 H:500 D:500 cm 2017 Noriko O ba ra
AW127226774
♡
37
OBSERVICA Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Noriko Obara Painting, Sculpture, Installation
Noriko Obara was born in Saitama, Japan. She started painting since she was 6 years old. Education 2002 Tama Art University, Graduate Program 1991 Joshibi University Of Art And Design Exhibitions 2017 ART STAYS FESTIVAL (Ptuj,Slovenia) 11th Arte Laguna Prize - Art Stays Award and Biafarin Honor Award (Venezia, Italy) Sano-Nui Award Winning Artist Exhibition(Suginami,Tokyo) Sano-Nui Award Winning Artist Exhibition (Sagamihara,Kanazawa) 2016 Tokushima LED Art Festival 2016 (Tokushima) 2015 Kobe Biennale 2015 Domestic Invitation Artist Exhibition (Kobe,Hyogo) Niigata Water and Land Art Festival 2015,Citizen project (Niigata) 2014 Niigata Water and Land Cultural creation, Children project 2014 (Niigata) MOA Museum of Art (Atami,Shizuoka) 2013 NHK Kushiro started broadcasting 75 anniversary Kushiro winter re y (Kushiro,Hokkaido) Niigata Water and Land Cultural creation, Children project 2013 (Niigata) The Alumni Association of Tama Art University, “Delivery Art University� (Kawagoe,Saitama) Kobe Biennale 2013 Art in a Container International Exhibition,Special Prize (Kobe,Hyogo) Tokushima LED Art Festival 2013 (Tokushima) 2012 Niigata Water and Land Art Festival 2012 (Niigata) 2011 Kobe Biennale 2011 Art in a Container International Exhibition Honorable mention (Kobe,Hyogo) Comimaru 3rd Award-winning author Exhibition (Suita,Osaka) Nakanojo Biennale 2011 (Nakanojo,Gunma) Solo Exhibitions 1995 GALLERY ART POINT,gallery COEXIST 2010 Nroom artspace,gallery masuii,G-Art Gallery, Gallery Iseyoshi etc.
OBSERVICA
38
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Landscape of Light Installation W:800 H:1200 D:400 cm 2014 Noriko O ba ra
Let's play with light art! (MOA Museum) Veins of leaves resemble the ideal town structure. Interlinked circular-forms represent cells. Whether it is viewed from above or at ground level this work evokes the feeling of being in a microscopic world or of peering down on scenery from above.
AW127315418
♥
OBSERVICA
39
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Changing Installation W:300 H:400 D:300 cm 2017 Noriko O ba ra
Why is it that people travel?Travel enables people to escape from work to a place of ones own choice, to enjoy and be impressed by di erent and new scenery. In our daily lives, we have the desire to travel and experience something that is not accessible to us normally. The world of art also o ers a release from the everyday. In this sense art and travel are similar. Travelling o ers the opportunity for re ection and enables one to prepare for the 'next thing'. Since ancient times water has embodied an important role in facilitating travel along rivers and across oceans. When scenery re ects on the surface of the water it is transformed into circular points of light. Const...
AW127964496
♥
OBSERVICA
40
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Awaodoru Installation W:3700 H:1850 D:600 cm 2011 - 2013 Noriko O ba ra
Tokushima LED Art Festival 2013 Awa-odori is a traditional Tokushima festival. The work included an installation and performance that represented a play on the word Awa, which also means ‘bubble’. Tokushima city was represented through local treasures that glowed in the dark and dancing ‘Awa’.
AW127274676
♡
OBSERVICA
41
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Awaotori Installation W:1600 H:1000 D:300 cm 2016 Noriko O ba ra
Tokushima LED Art Festival 2016. Tokushima City’s rich nature provides conditions that support many species and attracts a wide range of wild-birds. Distinct features of life-forms particular to Tokushima inspired this piece and were expressed through the work.
AW127722480
♥
-18 C Painting, Photogram on Paper W:26 H:40 cm 2018 Christ ine La va nc hy
AW127691030
♡
43
OBSERVICA Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Christine Lavanchy Digital Art, Drawing, Graphics, Painting, Photography
Swiss artist. Autodidact. Lives and works in Cully, Bourg-en-Lavaux (CH). Christine Lavanchy explores painting and photography in a unique journey that takes experimentation: the merger between the two genres is sometimes so astonishing that it looks troubled, not knowing what the truth is proposed. Passionate mountain, freedom, open spaces, while living to Patagonia, she discovers what will give meaning to his work: nature in all its splendor and virginity. These trips to the southern lands will mark deeply and allow it to express a very personal way the symbiosis between art and the world. Renato Hofer Snaps The work of Christine Lavanchy is the eye that listening is the ice meets the sun, dreams that become matter, and the e ort becomes fun. This world approaches the secret of mountain. To stand in front of a work of Christine is BE. Joe Boehler ABPI Foundation. EXHIBITIONS 1997 Source Epalinges (CH), solo . 1999 Art Lavaux Chexbres (CH), contests, collective. 1999 Label Village Grandvaux (CH), contests, collective. 1999, 2000, 2002, 2007, 2008, 2013, GSBM, collective, (CH). (Swiss guild of painters of the mountain). 2009 Sun Gallery Me Inuit Morges (CH) collective. 2010 Cité du Temps, Geneva (CH), solo exhibition 2011 Gallery Beauregard, Montreux (Switzerland), collectively. 2011 Cité du Temps, Geneva (CH), collective. 2012 ABPI Foundation, Lausanne (CH), solo exhibition 2013 Midnight Sun Gallery, Morges (CH) collective. 2015 Midnight Sun Gallery, Morges (CH) collective. 2017 Terra Quantum, Salon de la Photographie, Paris (F) collective. 2018 Quai de Bear Orsières (CH), solo exhibition 2018 ARTBOX Talent , ARTBOX GALLERY, Zurich (CH), collective. 2019 ARTE LAGUNA, Venetian Arsenal, Venice (I) collective. 2019 FOTOFESTIVAL LENZBURG, Lenzburg (CH), collective. AWARDS 2017 International Photography Award, One-Shot competition, honorable mention. 2019 Arte Laguna Art Prize, nalist: section digital graphic. 2019 Fotofestival Lenzburg, public award, third place
OBSERVICA
44
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Grand Combin Drawing, Photogram on Paper W:30 H:21 D:1 cm 2018 Christ ine La va nc hy
Fusion Art No1 Description: Numeric photography, then cyanotype print on paper, then tea dye, then ink drawing, then encaustic patina. This work embodies my fascination for the mixing of techniques. This approach already approached in my previous project (LE MUR, the fusion of painting and photography) now explores the possibilities of photography, ancient processes and drawing.
AW127495160
♥
OBSERVICA
45
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Mischabel Drawing, Graphite Drawing on Paper W:50 H:38 D:1 cm 2013 Christ ine La va nc hy
Details: Drawing and mixed media (acrylic) on an ancient alpine map, all stuck on forex. Context: One of my multiple works inspired by Nature in general, and by the French author Samivel who wrote the fabulous story of the rst ascent of the Matterhorn, seen through the eyes of a young jackdaw, living with his family in the eastern face of the mountain. (Les Contes à Pic, La Première Fois)
AW127797056
♡
OBSERVICA
46
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
Veisivis I Drawing, Photogram on Paper W:30 H:21 D:1 cm 2019 Christ ine La va nc hy
Fusion Art No1 Description: Numeric photography, then cyanotype print on paper, then tea dye, then ink drawing, then lemon juice drawing, then encaustic patina. This work embodies my fascination for the mixing of techniques. This approach already approached in my previous project (LE MUR, the fusion of painting and photography) now explores the possibilities of photography, ancient processes and drawing.
AW127259608
♥
OBSERVICA
47
Issue# 2 - Spring 2019 biafarin.com/observica2019spring
ARCTIC Flight Photography, Photogram on Paper W:29 H:21 D:1 cm 2018 Christ ine La va nc hy
Detail: Sdigital photography - negative - cyanotype on paper - tea dye - encaustic Context:Â this photography summarise my work inspired by Nature in general, and birds actually
AW127764832
♥
OBSERVICA M a g a z i n e
Issue# 2 Spring 2019 May - 2019
biafarin.com/observica2019spring
powered by
biafarin.com