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Issue# 6 Spring 2020
Sabrina Meissner Sinisha Kashawelski Shirin Moayya Aron Belka Annamarie Dzendrowskyj Yu Cai Maria Filimonova I am who I am - Ego Sum, Qui Sum | W:160.00 H:250.00 D:3.00 cm | by Sinisha Kashawelski
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OBSERVICA M a g a z i n e
Issue# 6 Spring 2020 May - 2020
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15-May-2020
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Discover the Artist
Observica is a Canadian contemporary art magazine published by "Discover the Artist� media holding. It focuses on telling the compelling story of signi cant arts created by brilliant artists from all around the world. Our publications are available to millions of art lovers, experts, collectors and enthusiasts in both digital and print format and reaches readers in over 100 countries.
Observica is a registered trademark. All rights reserved. No part of this publication may be reproduced in whole or part without written permission from the publishers. The magazine can assume no responsibilities for unsolicited manuscripts, photographs or illustrations.
Sabrina Meissner Sinisha Kashawelski Shirin Moayya Aron Belka Annamarie Dzendrowskyj Yu Cai Maria Filimonova
Some of ussecretly hoped COVID-19 would disappear in May 2020, like what happened withSars-Cov Virus in 2003. Well, I was disappointed when it didn't. I got throughmy days focusing on courageous talented artists to amaze us with their hardwork and by showing us the alternative, by forcing us to face the unknown orspreading the hope and sharing positive e ects of this new normal in our dailyroutines. Over the past three months, the art world has been a ected by events, exhibitions, and art fairs canceled or closed. This issue, created under the dark shadow of a pandemic, global lockdown, and social distancing, is lled with hope and aspiration. We welcome you with open arms to immerse into our spring issue. View published artists' visual stories, read the art experts reviews and visit the online exhibitions that continue to keep us connected to the artistic world and generate the small fractures of light and hope into darkness and worrisome.
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What's going on Painting, Acrylic on Canvas W:60 H:80 D:2 cm 2018 Sa brina Meissner
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Sabrina Meissner Painting
Sabrina Meissner was born in 1981 and has lived in Europe, North Africa and Australia. She holds a master in business administration and economics from the university of ULM and has worked in top management consulting and nance all her professional career. Sabrina stems from a family of artists. her grandfather was a landscape painter and her brother pursued a career as an architect. from early on she has shown outstanding talent and was approached for several local artistic and design projects. Her teachers encouraged her to study art so she chose art as a major subject during high school and began her art studies at the university of Constance. She enrolled into a master of arts and media degree, however soon decided to take a di erent educational and career path - due to the lack of practicality and perspective. This decision was also heavily in uenced by her private situation, where she was increasingly looking for both security and freedom. In 2018, Sabrina got back into painting and her style has since evolved around several key themes. sabrina’s work centres particularly on imbalance, inequality and tension in our everyday lives. Throughout her life, sabrina has always been in uenced particularly by gender inequality, an interest that was cultivated by her own private and professional experience in nance. She catches the viewer’s curiosity with her bold, vibrant abstract portraits of almost genderless gures. she has developed her own distinctive style which make her abstract portraits very recognizable and attractive for collectors. A strong use of contrasts and helmet-like hair in abstracted architectural settings are the main distinctive features of sabrina’s style. She invented her own way of painting faces which became one of the hallmarks of her style. Sabrina works with roller pens and acrylic on canvas, watercolour paper, cardboard or wood. The latter shows the link to her heritage - local painters from where she stem from tend to use wood as their favourite medium. In December 2019, one of her paintings was shown as part of a group exhibition at art Basel Miami. Sabrina currently lives and works in Munich, Germany.
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Happiness in Pink | Painting, Acrylic on Canvas | W:100 H:100 D:2 cm | 2018
Sabrina Meissner’s Urban Idols Andrea Guerrer Art Critic
Ajax: "Maybe we should break some heads down the road." Cleon: "You are only a soldier andkeep your mouth shut." Warriors of the Night (The Warriors, 1979) Warriors of the Night, a lm inspired by Sol Yurick’s novel, published in the 1960s, lmmaker Walter Hill recounted the battle for the survival of the Warriors, one of the youth gangs that competed for control of New York's neighborhoods.The action takes place from sunset to sunrise and focuses on the return of the protagonists from a large gathering in the Bronx park, for decades has been synonymous with a dangerous neighborhood, now transformed into a residential area. The undisputed epicenter of this adrenaline- lled street adventure is the subway,the elective hunting ground for urban tribes of warriors in leather jackets,who armed with baseball bats, carry out a spectacular saga of bloodless violence. Atmospheres similar to those evoked by this adrenaline- lled night trip in a far-west NewYork are also found in Sabrina Meissner's painting, which detects imbalances, inequalities,and tensions of contemporary existence to re-read them in a gender-based way.While in Walter Hill's historic cult lm, the heroes were young post-modern Native Americans engaged in a venture comparable to the retreat of the 10,000's through the Persian Empire (as reported by Xenophon in Anabasi), the protagonists of the German painter's dystopian fantasies are stylized women whose faces are seen only surmounted by helmets of hair similar to helmets of ghters. Their physiognomic features seem to derive from a primitive tightening of the adolescent's face portrayed by Edvard Munch in Puberty, with the same unobtrusive, hostile and lost gaze.A thick dark contour line rmly emphasizes the essential elements of the face whose shadows and wrinkles of expression dig into dilated and deep pupils like cesspools. Rough brushstrokes of acrylic paint boast the gures as if they were sculptures carved in wood, a technique widely practiced by local artists from the area where Sabrina Meissner comes from, while the subdivisions of the pictorial surface in geometric cages gives the gures an iconicity of Gothic glass.
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Behind the women lies an alienating setting characterized by contrasting acid colors and dotted with geometric hints of architecture, a no man's land with a hybrid identity, uncertain between the non-place and digital graphics. These panoramasare inspired by o ce buildings, railway stations, airports, structures in which the artist has spent a lot of time during her professional life, reworked here with a visionary style worthy of a hallucinatory nightmare with psychedelic colors that we might imagine accompanied by an electrodancesound track. In her scenographic backdrops, Sabrina Meissner seems to dig into the anxieties of the underground subcultures of the 70s, bringing to life the energetic vibrations of artists such as Keith Haring and Jean-Michel Basquiat. But if the rebel gra ti of the latter manifested a joyful dissipation of the self in the midst of the metropolis, the German painter's lysergic structures synthesize the city as a network of energy ows that ignite desire, but also as a sca olding of rules and boundaries that make its full enjoyment impractical. Her powerful and mysterious female gures, whom she de nes as a serial form of indirect self-portrait, embody both strength and vulnerability: they are not on the run like the Warriors in the lm, but they are also trying to dodge the ambushes of invisible enemies, which is not clear if they come from outside or if they are their internal demons. The tension between the abstraction of the backgrounds and the simpli ed gurative appearance of these heroines,ampli ed by the use of contrasting colors, is the key through which Sabrina Meissner developed her story of the present. The square or rectangular shapes that fragment the surface of the work by placing behind or in front of the gures as grids or bars describe contemporary society as a perverse video game that, on the one hand, fascinates the individual, while on the other it makes him a recluse, more or less aware of his or her isolation. In a stylized and depersonalized urban context, those who are out of the game reserved for some elites of power end up feeling detached from the world of perceptions, deprived of any possibility of sympathetic communication, and even detached from themselves. The sense of extraneousness of the external world, which appears to be deprived of the character of reality, symbolizes in Sabrina Meissner'spoetry the overwhelming schematization caused by contemporary technocracy. Her daring creatures out of this world make a harsh criticism of postmodern society, to which they oppose a silent resistance while remaining in some way "connected" through imaginary circuits and ows of information. Their wide-open eyes penetrate the mysterious depths of the unconscious, but they do not prevent the other senses from being constantly vigilant, alerted and listening to the pitfalls of a permanent bluish metropolitan night, stained here and there by improvised splashes of color. The image has the pressing tension of a thriller, but the solemn hieratic in which women warriors face; the unknown seems to assimilate them to real urban idols, who are unassailable and omniscient in their primitive grace.As black brings out the colors it is combined with, the thick contour lines that mark the border between gure and background represent the obstacles that we all face in our daily lives. And the artist's invitation seems to be to look fearlessly beyond and through the bars to absorb and emanate our inner color,to transcend boundaries without falling apart and to aspire to a superior awareness of existence.
Sabrina Meissner
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Why Painting, Acrylic on Paper W:20 H:30 cm 2019 Sa brina Meissner
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For Breakfast Painting, Acrylic on Paper W:20 H:30 cm 2018 Sa brina Meissner
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Hope - SPERANZA Painting, Oil Color on Canvas W:114 H:195 D:3 cm 2017 Sinisha K a sha welski
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OBSERVICA Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Sinisha Kashawelski Painting
Sinisha S. KASHAWELSKI Born in 1969 in Kumanovo, Macedonia. Lives and works as an independent artist in Saint Paul de Vence /France and Kumanovo/ Macedonia Education Finished a College of Applied Arts in Skopje, Macedonia, where he also graduated at the Faculty of Fine Arts Memberships DLUM (National Artists Association of Macedonia) Societe des Artistes Francais SOCIÉTÉ DU SALON D’AUTOMNE -Paris Académie des Arts-Sciences-Lettres de PARIS MONDIAL ART ACADEMIA Awards 1998- "Konstantin Mazev" painting small format КИЦ Скопје 2012- "Medaille de bronze" Salon des Artistes Francais, Grand Palais, Paris 2013- "Medaille d`argent" Salon des Artistes Francais, Grand Palais, Paris 2014- "Medaille d`or" Salon des Artistes Francais, Grand Palais, Paris 2015- "Medaille d`or" Salon National des Beaux Arts, Louvre, Paris 2015- "Dimitar Kondovski" DLUM (National Artist Association of Macedonia) 2016- "Prix ADAGP" Le Salon des Beaux Arts, Louvre, Paris 2016- 1st PRIZE WINNER of PALM ART AWARD, Germany 2017- 1st Absolute Prize in the Paintings section, Marchionni Prize, Italy 2017- Kitz Award 2017, Austria 2017- International Prize Andrea Mantegna, Mantova, Italy 2018- TOP 10 Artist of the Year Award from Circle Foundation, France 2018- Winner of Art Expo Venice, Italy 2018- Giulio Cesare International Award/SEGNALATI in Rome 2018- Golden Medal of Merit and Contribution to Art in 2018 by French 'Société Académique' ArtsSciences-Lettres/France 2019- Golden Medal in category "surrealism and symbolism" awarded by the Mondial Art Academia 2019- Golden Medal in "all categories" awarded by the Mondial Art Academia 2019- 'ISMAIL LULANI' International Award, Second Prize winner VIZart International Biennial "Self -Portrait" Tirana/Albania
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My Uncle Allegoria - "Allegoria patrui mei" | Painting, Oil Color on Canvas | W:65 H:80 D:3 cm | 2014
Sinisha Kashawelski’s Socialist Surrealism Filippo Monelli Art Critic
Socialist realism, that developed in the third decade of the 20th century, embodied the o cial art of the Soviet Union and the socialist countries of Eastern Europe until the collapse of communism. This literary and artistic stream re ected the ideals of interdependence between practical and theoretical activity elaborated by Marx and Engels, who postulated an art faithful to social reality, developed from tangible values and not from abstract ideals and capable, in turn, of creating concrete values. The main function of art was to celebrate socialist progress through recurring themes such as the class struggle, the alliance between peasants and workers, the history of the labor movement, the daily life of workers. Although Marx and Engels did not intend to reduce art to a pure tool of propaganda and controversy, these objectives have in fact oriented teaching in the Academies of Fine Arts for decades towards rigorous technical training and very rigid gurative and ideological standards. The consequences are still burning in the poetry of many contemporary artists originating in the geographical areas historically a ected by the Communist Revolution, just think of the monographic project Subversion to Red of the Macedonian artist Nada Prlja presented at the 2019 Venice Art Biennale, a subversive return to the "forgotten" notions of idealism and ideology through the critical rereading of the postulates of Marxist theory and leftist thought. This introduction frames the cultural background of the Macedonian Sinisha Kashawelski (1969, lives and works in Kumanovo), whose paintings combine Macedonian pictorial tradition and cultured quotes from the history of art with a perturbing surrealist style. In his paintings, made in oil on canvas (but occasionally on wooden boards such as the ancient icons of his native country), di erent styles and suggestions blend in intriguing dreamlike visions that look at art consecrated by history with extreme freedom. His recurring subjects are solitary human gures, most of which females, placed almost like mannequins in the midst of other elements that are part of the painter's studio furnishings and which are recomposed in essential object theaters.
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The compositional structure of the paintings, characterized by tall and narrow formats and from a slightly lowered point of view, recalls the great religious paintings of the late Renaissance, when the niches of the polyptychs placed on the altars were inhabited by three-dimensional saints and blessed realistically, despite the overall symbolic idealization of the image. Even the characters of Sinisha Kashawelski stand in a hieratic frontal position like enigmatic idols stuck inside space of geometric sharpness, made incongruent by the recurring "vanishing" of the gures at the base as if the color melted or became fog, revealing illusory nature of the image. The gures are characterized by the solemn gestures of sacred or regime painting and by peculiar objectattributes that once again recall the escamotages of gurative hagiography, in which the lives of the saints were synthesized by the objects that functioned as vehicles of their miracles and by martyrdom tools. In this case, the attributes are weapons (or things that are harmless as such), communist symbols (represented as objects or mimicked by the characters' gestures), books and propaganda slogans, but also absurd elements taken from reality according to re ned Magritian nonsense. This is a Picturesque cultural operation, in which these granite symbols of ideological power and strength crumble before our eyes becoming mere empty presences, almost toys that stage the story in the form of a puzzle, with the intent to unlock its true meaning. The bright and crystalline light that plastically de nes the characters and their objects in clear atmospheric tonalism triggers a suggestion of airiness. Still, there is nothing naturalistic about it, and everything lives in a purely mental dimension. The complex game of interrelations between symbolic elements, hyper-realistic punctiliousness, and lucid hallucinations, combined with the re ned aesthetic irony, suggests that painting for Sinisha Kashawelski is also a staging of the very problem of the integrity of the plastic values of painting, conducted with an approach always in the balance between hedonistic and propagandistic vision. This research, which becomes a disturbing metaphor for the deceptive manifestations of history, leads him to create his pictorial idols with maniacal attention to detail, charged with symbolic intentions, whose reliability is, however, immediately contradicted by the aporias of the combinations between the various elements. The strange contamination between idealism, rationalism, and surrealism that results from it, arises in him as a reaction to a historical legacy he distrusts, but which he painfully feels like an indispensable part of himself. In these enigmatic atmospheres, which arouse in the observer a feeling of waiting for who knows what development or an always denied ideological revelation, the artist's fascination for the monodic theme of the idealized female portrait engages, an iconography that marks his style making it unmistakable. The maliciously angelic faces of his heroines express an intriguing sensuality in brazen contrast with the poses and attitudes that wink to those of the Madonnas and saints in the art history reinterpreted through the lter of socialist realism as ordinary people and workers. The exhausting beauty of these women, who Salvador Dali would have liked for their "dazzled and hallucinated by wax" quality, has fallen into a pseudo-mystical reverie capable of reinventing an entire formal tradition in terms of a hollow mystery, but at the same time to demystify the ideological signi cance of this cultural critique operation to a triumph of eroticism and desecrating irony.
Sinisha Kashawelski
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Dreaming - Somniantis Painting, Oil Color on Canvas W:81 H:116 D:3 cm 2019 - 2020 Sinisha K a sha welski
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I am who I am - Ego Sum, Qui Sum Painting, Oil Color on Canvas W:160 H:250 D:3 cm 2019 Sinisha K a sha welski
Contemporary metaphor of a soc-realistic art AW127357024
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Limitation From Mirror Of Fantasy Mixed Media, Acrylic on Photo, Canvas W:100 H:70 D:2 cm 2018 - 2019 Shirin Moa yya
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Shirin Moayya Drawing, Painting, Photography
Shirin Moayya was born in August 1972 in Tehran, Iran Art Category: Drawing, Painting, Photography Education 2001- Master of English Teaching Recent Achievements 2020- Selected Artist for Exhibizone Online Smart Exhibition, Toronto, Canada 2019- Selected Artist for Premio LYNX 2019 International Exhibitions in Slovenia and Italy 2018- Selected Artist for Women's Works International Exhibition by US Northwest Art Council in Old Court Art Center 2017- Honorable Mention artist by London International Creative Competition Exhibitions Participation in various solo and group exhibitions and art festivals in Iran, UK, Italy, Slovenia, US Membership Member of Ghalamro-Mani Art Group
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Amazing From Mirror of Fantasy | Mixed Media, Acrylic on Photo, Canvas | W:100 H:70 D:3 cm | 2018 2019
Shirin Moayya. The kaleidoscopic language of vision Camilla Pappagallo Art Critic
"Painting is related to both art and life. I try to work in the space between art and life". Robert Rauschenberg There are works of art capable of encapsulating an idea of the world in themselves and materializing before our eyes with lucid coherence the mysterious intersection between external reality and our internal perceptions, by staring for a moment in the form of an image this elusive stream of pulsions and reactions. Since we do not see things as they are, but as we are, art is the most immediate tool through which our representations of existence emerge, even when there are no words to translate them into reasoning or narrative. Art is what can make a solution into an enigma; it is what manages to transform even the banalest aspects of reality into a complicated maze, to reveal the unthinkable cognitive and emotional backgrounds. Shirin Moayya's work focuses on the emotional and spiritual experience of reality, which in the series of paintings Inward Organized (2015-2016) and Human Beings and Forgetfulness (2017-2018) translated into an expressionist pictorial language characterized by a robust chromatic accentuation and a dominant emotional deformation of visual data. The artist avidly absorbs everything she sees and lives. Anything can attract her attention and is always looking for an innovation that expresses itself as a continuous stylistic revolution and a fusion of the most diverse means of expression. If in the aforementioned series of paintings she used to insert newspaper clippings and other illegible papers, which directly transferred characters and events from the contemporary world to the canvas, in the new series entitled Mirror Of Fantasy (2019) she brings together Painting and photography in the same work, putting together images of things, places and people who appear as surrogates of the fragments of reality they have alluded. We could compare these decontextualized snapshots, which give the image an almost sculptural vocation, to the objet trouvĂŠ that had been so dear to Marcel Duchamp, of which the Iranian artist dilutes with her delicate sensitivity to the inner emotional nuances.
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Each work in this series seems to capture a di erent small-scale universe. The combination of drawn and photographed gures manifests a labyrinthine vision of the world, crossed by a sort of childhood amazement but at the same time capable of crumbling any certainty and of submitting it to a surgical criticism. The composition is animated by an unstable balance system that combines elements that are very distant from each other, capable of triggering disturbing connections that short-circuit the familiar and the unknown, the logical and the absurd, duration, and transience, illusion and reality, solemnity and irony. Shirin Moayya plays with the di erence in scale and sensory perception to provoke an alienating impact that incites viewers to look at reality from a new perspective. The emphasis on the banality of everyday life, animated by curious and contradictory details, when not openly paradoxical, is nourished by the multiple changes of looks with which the artist investigates the most ordinary aspects of life. The metaphorical journey between parallel universes and Lilliputian panoramas that she proposes in Mirror Of Fantasy conceals a surgical cross-examination of human microcosm, and social macrocosm visualizes its contradictions. Contaminating photography and Painting (always central in her practice), Shirin Moayya seems to seek her strategy to re-discuss the reality in which she lives and contextualizes it from a historical and cultural point of view. These reasons have led her over the years to develop a varied expressive vocabulary, inhabited by images that make up an inexhaustible anthology of mutations, supported by an eclectic use of materials. Her works are a space of interference in which she questions human emotional habits and attitudes through enigmatic montages, whose visionary nature recalls the utopian cinematographic avant-garde of the 1920s, where the various elements of vision are embedded within each other, generating aporias that manage to coexist in a kind of organized chaos. Every movement appears frozen, as in a blocked choreography or a restless spell. The vision is stuck in a bewildered enchantment, crystallized in a windy still image that makes one think of the setting of a lucid dream in which the protagonists cannot cross the exit door. The contradictions of the present physically transform the pictorial plane, which becomes a manuscript in which the composition arises as a metaphor for the complexity of the contemporary cultural, socio-political, and historical narrative. Shirin Moayya superimposes several layers of images as if they were successive exposures of the same photographic negative, assimilating them to the glazes of a color that seeks its perfection through slow layers of brush strokes. In her works, the presence of everyday life is immortalized for their evocative and representative value, as if they were a precious collection of atmospheres and symbolic suggestions. For this reason, the nal result, despite having roots in everyday reality, poetically moves away from it in an attempt to correspond to the deceptions of perception and the changing incarnations of the mental image. For these aspects, the artist's "other" universe has the rare ability to reconcile a disenchanted gaze on the problems of the present with a new empathic humanism, which approaches life with renewed enthusiasm and with a genuine curiosity for the many forms in which destiny can shape the kaleidoscopic forms of existence.
Shirin Moayya
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Route After Death From Mirror Of Fantasy Mixed Media, Acrylic on Photo, Canvas W:100 H:70 D:2 cm 2018 - 2019 Shirin Moa yya
Mirror of Fantasy series is about reconciling harsh reality, empathy and pictorial frankness that makes us understand how, exposing the inconsistencies is the rst step of a journey of hope that in the future a new humanism will succeed to re-establish the human being starting from the destruction of the false certainties of the present.
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Good Times From Mirror Of Fantasy Mixed Media, Acrylic on Canvas W:100 H:70 D:2 cm 2018 - 2019 Shirin Moa yya
Mirror of Fantasy series is about the peculiar traits of each psycho-pathology & shows how the expressionistic accentuation of the pictorial language can give a critical and disenchanted look at human discomfort while showing a deep emotional sharing. This series is about reconciling harsh reality, empathy and pictorial frankness that makes us understand how, exposing the inconsistencies is the rst step of a journey of hope that in the future a new humanism will succeed to re-establish the human being starting from the destruction of the false certainties of the present.
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Clifton Faust Painting, Oil Color on Canvas W:122 H:122 cm 2018 Aron B elka
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Aron Belka Painting
Aron Belka American, b. 1974 lives and works in New Orleans, Louisiana Education 1998, BFA, Illustration, Utah State University Solo Exhibitions 2018- Represent: Depicting Creatives in the 504, Marietta/Cobb Museum of Art, Marietta, GA 2018- Call to Post, LeMieux Galleries, New Orleans, LA 2016- Frame of Reference, Jones-Carter Gallery, Lake City, SC SCOPE New York, New York, NY 2015- Working the Wetlands, LeMieux Galleries, New Orleans, LA 2012- New Paintings, Studio Je rey P’an, Mystic, CT 2010- Movimentum: A New Orleans Review, Robert Je rey Salon, New Orleans, LA 2009- Field Work, Mestizo Institute of Culture and Arts, Salt Lake City, UT Group Exhibitions Participation in group exhibitions since 2003 Residencies 2019- Cill Rialaig Project, Ballinskelligs, Ireland 2016- Joan Mitchell Center, New Orleans, LA
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Papeh Sow Painting, Oil Color on Canvas W:122 H:122 cm 2018 Aron B elka
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Tim Cavnar Painting, Oil Color on Canvas W:122 H:122 cm 2018 Aron B elka
My current paintings are predominantly large scale gestural portraits that are representative, but pull between the measurable and the abstract, primarily depicting working class, underrepresented subjects of society.This painting of Tim is part of a body of work portraying working class artists who have shaped the growing contemporary art scene of New Orleans, Louisiana.
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Shawn Hall Painting, Oil Color on Canvas W:122 H:122 cm 2018 Aron B elka
My current paintings are predominantly large scale gestural portraits that are representative, but pull between the measurable and the abstract, primarily depicting working class, underrepresented subjects of society. This painting of Shawn is part of a body of work portraying working class artists who have shaped the growing contemporary art scene of New Orleans, Louisiana.
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Ashley Teamer Painting, Oil Color on Canvas W:122 H:122 cm 2018 Aron B elka
My current paintings are predominantly large scale gestural portraits that are representative, but pull between the measurable and the abstract, primarily depicting working class, underrepresented subjects of society. This painting of Ashley is part of a body of work portraying working class artists who have shaped the growing contemporary art scene of New Orleans, Louisiana.
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Plan to sell your art in 4 easy steps In today's busy digital world, waiting to be discovered is not a practical option, and hitting the art market with no plan won't get you far. Therefore, for entering the art business world, where thousands of talented artists are competing for promotion and sales, having an art marketing plan is essential to your exposure and success. Main steps Here are four essential steps to create and run a productive art marketing plan: Set your goals De ning your artistic goals is the rst step to shape your future as an artist. As many gurus have said it, if you do not clarify where you are going, eventually you will end up somewhere, that most probably is not where you have had in mind. Focus on what success means to you as an artist. Does it mean more sales, winning more art prizes, being reviewed by known art critics, being published in art media, or simply feeling that you've learned your craft? By setting your goals, "every tiny step is one step closer to where you are going," as quoted by Ron Kaufman.
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Prepare your plan You need to quantify your targets. Moreover, it is necessary to prepare a list of art marketing service providers, critics, online shops, magazines, blogs, and art competitions that you want to communicate with during a year. You can also research and choose a proper art marketing platform to use it as a primary vehicle for your journey. Execute your plan Now that you have set your goals and quanti ed them, it is time to start executing your plan. Keep in mind that a 1000 mile journey begins with the rst step. So, start walking the path one step at a time to achieve your artistic goals. Contact magazines and ask their policies for publishing, communicate with art lovers who might be interested in your art to ask their opinion, check art competitions website to read their terms and see if you are eligible to participate, review online art shops and visit art galleries to choose most suitable places to sell, reach out to art critics and ask their feedback about your art. If it all started to look very frustrating, do not worry, help is here! Simply try Biafarin Start to not only plan your art marketing but also ensure the e ective execution of your plan. Evaluate the results Each successful journey requires adjustment. The e cient monitoring of a marketing plan ensures your plan's success. With the regular evaluation of your achievements, you can identify the shortcomings, eliminate what is not working, and add to what brings you closer to your targets. Biafarin Art Marketing Planner has a built-in monitoring feature to help you in assessing your progress and improving constantly.
Set your goals and plan your art marketing If you are looking for a tool, use Biafarin Start for free to set and quantify your artistic goals and get the most suitable package based on your art marketing needs. Start Now
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Twilight - Bruges X Painting, Oil Color on Canvas W:23 H:40 cm 2018 Anna ma rie D zendrowskyj
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Annamarie Dzendrowskyj Painting
Annamarie Dzendrowskyj was born in 1967 in London, UK. She was trained as a classical ballet dancer followed by a career as a PADI Scuba Diving Instructor/Examiner. She holds a BA Hons Degree in Philosophy (Lancaster University UK) - specially subjects in existentialism and aesthetics, a BA in Fine Art and BA Honors Degree in Painting (National Art School, Sydney, Australia). Based in London, she travels in search of new inspiration. Dzendrowskyj seeks to examine the indeterminate nature of 'ways of seeing' and 'being'. She realizes the ambiguous ‘grey area’ by exploring eeting moments of a world in constant ux. These moments in time she sees as suggesting a space, rather than de ning a space, one that exists between what is seen and unseen, a zone of indiscernibility. Indiscernible zones are at the heart of Dzendrowskyj's life experience, acting as a catalyst for her work. Following 12 yrs as a scuba diving instructor, she brings her empirical experience of the underwater environment to the surface. What is seen underwater is a ected by interference - by water movement, light and weather conditions and in this sense, nothing appears clearly de ned. This is re ected in her work which presents the emergence and dissolution of forms and settings in ethereal landscapes. O ering the viewer an experience of the unsettled, a subtle sensory disorientation and dislocation. Employing a process of creation and erasure, concealing and revealing, her work evokes the sense of a netherworld that con ates time, place, vision and memory. Exploring the tension between guration and abstraction, this invites the viewer to challenge their perception of time, place and space. Her work has been exhibited internationally, nominated for & received a number of art prizes and is held in following public and private collections. COLLECTIONS ICI Casa (International Cultural Institute) Venice, Italy Biennale Sharm El Sheikh 2013, Sharm El Sheikh, Egypt Reg Richardson Collection, Sydney, Australia St.Vincent’s Hospital, Sydney, Australia National Art School Drawing Archive, Sydney, Australia
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Haunted - Poland II Painting, Oil Color on Canvas W:38 H:28 D:2 cm 2014 Anna ma rie D zendrowskyj
This work is part of an on-going series - 'Twilight'-investigating ‘ways of seeing’ and ‘ways of being’. The notion of Twilight being de ned as a point in time that is in ux and change, re ecting the indeterminate nature of life, occupying that nebulous area between presence and absence. Haunted Poland II was awarded 2nd Place in the Art Gemini Prize 2015, London and was 1 of 4 works that was exhibited at the Arte Laguna Prize 2016, Venice &awarded the Fallani Serigraphy Residency Prize.
AW127893208
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Haunted - Hampton Court I Painting, Oil Color on Canvas W:38 H:28 D:2 cm 2016 Anna ma rie D zendrowskyj
This work is part of an on-going series - 'Twilight'-investigating ‘ways of seeing’ and ‘ways of being’. The notion of Twilight being de ned as a point in time that is in ux and change, re ecting the indeterminate nature of life, occupying that nebulous area between presence and absence.
AW127308764
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Twilight - Thames Ditton III Painting, Oil Color on Canvas W:38 H:28 D:2 cm 2014 Anna ma rie D zendrowskyj
This work is part of an on-going series - 'Twilight'-investigating ‘ways of seeing’ and ‘ways of being’. The notion of Twilight being de ned as a point in time that is in ux and change, re ecting the indeterminate nature of life, occupying that nebulous area between presence and absence. 1 of 4 works that was exhibited at the Arte Laguna Prize 2016,Venice & awarded the Fallani Serigraphy Residency Prize.
AW127914432
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Twilight - Bruges IX Painting, Oil Color on Canvas W:23 H:40 cm 2018 Anna ma rie D zendrowskyj
“If the world were clear, art would not exist” - Albert Camus - The Myth of Sisyphus The work forms part of an investigation into the indeterminate nature of 'ways of seeing' and 'ways of being'. This is re ected by considering the ambiguous ‘grey area’ between presence and absence through capturing eeting moments of a world in constant ux. Moments in time that suggest a space, rather than de ne a space, one that exists between what is seen and unseen, a zone of indiscernablity.
AW127788486
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Clown and her friends Printmaking, Etching on Paper W:19 H:30 cm 2019 Yu Ca i
AW127003350
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Yu Cai Drawing, Graphics, Illustration, Painting, Printmaking
YU CAI was born in 1993 in China Currently lives and works in Venice, Italy Art Category: Drawing, Graphics, Illustration, Painting Artistic Career since 2010 Education 2018- Master of Graphics Art from Academy of Fine Arts in Venice, Italy 2015- Bachelor of Art in Painting from China Academy of Fine Arts Exhibitions 2019- “XIV Edizione Biennale Incisione di Acqui Terme�, Acqui Terme, Italy 2019- "Takeda. Art / Support. Breakthrough", EKATERINA Cultural Foundation, Moscow, Russia, November 2018 - January 2019, - Won a Travel Prize to Moscow for attending the opening and presenting the work personally in November 2018; 2018- "A month of paper", Ca`Pesaro - International Gallery of Modern Art, Venice, Italy 2018- "Engraving Award - Carnello cArte ad Arte", Museo Civico Media Valle del Liri, Sora, Italy 2018- "Third International Printmaking Biennial 2018", Dom kulture, Cacak, Serbia 2018- "The 3rd Chinese Printmaking Exhibition", Museum of Art Graphics of China, Shenzhen, China 2018- "Temperatures", Changsha Civil Library, Changsha, China 2018- "Guanlan small prints", Museum of Art Graphics of China, Shenzhen, China 2018- "2nd International Print Biennial Lodz", Museum of the Factory in Manufactura, Poland 2017- Second prize of the exhibition "10 giovanni artists Academy of Venice, Artistic Foundation of the Baolina Brugnatelli Foundation", Forte Marghera Pavilion 36, Venice, Italy 2017- "10 giovanni artists Academy of Venice - Artistic Call for the Baolina Brugnatelli Foundation", Gallery of the Baolina Brugnatelli Foundation, Milan, Italy 2015- "Exhibition of the best works of the graduate students of the Academy of Fine Arts of China", Gallery of the Academy of Fine Arts of China 2015- "11th Exhibition of young artists from the Zhejiang Province", Gallery of Zhejiang Province ", Hangzhou, China 2015- "6th Exhibition of young artists from Zhejiang Province", Museum of Zhejiang Province, Hangzhou, China 2015- Honor "Excellent graduate from the Academy of Fine Arts of China" 2015- Copper Prize of the "Exhibition of the works of graduate students of the Academy of Fine Arts of China", gallery of the Academy of Fine Arts of China 2014- "The stars of the century", Gallery of the Academy of Fine Arts of China
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Romantic Writer in a Fish Resturant Printmaking, Watercolor, Woodcut Print on Paper - Rice W:60 H:40 cm 2018 Yu Ca i
AW127732056
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Fireworks at dawn Printmaking, Etching on Paper W:30 H:35 cm 2019 Yu Ca i
AW127764640
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Birdman Printmaking, Etching on Paper W:30 H:40 cm 2018 Yu Ca i
AW127157344
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Steamed bread-Shaped Mountain Printmaking, Etching on Paper W:100 H:50 cm 2018 Yu Ca i
AW127056410
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Untitled Painting, Oil Color on Canvas W:100 H:120 cm 2017 Ma ria Filimonova
AW127028810
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Maria Filimonova Drawing, Painting, Photography
Maria Yu. Filimonova was born in St. Petersburg, in Russia in 1995, where she lives now. In 2008 she entered the St. Petersburg State Academic Art Lyceum. B.V. Ioganson of the Russian Academy of Arts. Studied successfully, drew a lot of sketches and loved Painting. In 2014 she entered the theater faculty of the St. Petersburg State Academic Institute of Painting, Sculpture and Architecture named after I. Repin of the Russian Academy of Arts. In her third year she was disillusioned with the faculty of painting in a battle-painting workshop under the supervision of Professor V.V. Zagonika, where she is studying at the moment. The historical workshop, completely glass that its uniqueness is lighting like on the street. Stages from the horse are regularly put on it. Besides Painting and Composition she does Sculpture. She is inspired by sculptors like Lembruk Wilhelm, admired how he can spiritualize a form and at the same time have no doubt in its reality. From Russian artists Vrubel Mikhail Aleksandrovich is close. In its museum she feels impressed about how it conveys the rushing spirit of the Russian soul in images of the Demon. She also writes night etudes from nature, inspired by the moment of being, writes and Leplya nude portraits. In 2015, 2016, 2017 and 2018 she participated in exhibitions on the Union of Artists, in "ArtMuza" private gallery. In 2019, she won Biafarin Promotion Award in 13th edition of Arte Laguna Art Prize.
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Lying Painting, Oil Color on Canvas W:136 H:82 cm 2015 Ma ria Filimonova
In this work it was interesting to study the underlying model. Posed my friend - for a month she came late every morning in the Studio at the Academy of arts, I made her co ee, after which she slept for three hours, and I su ered, drawing a heavy production (the First time at the Academy wrote a naked model! still and in recumbent pose!). That's all I can tell you.
AW127134080
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Fight Painting, Oil Color on Canvas W:105 H:110 cm 2017 Ma ria Filimonova
Composition about artist's personal feelings and memories from childhood. AW127747382
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Kirill Painting, Oil Color on Canvas W:110 H:170 cm 2017 Ma ria Filimonova
Portrait of ex-boyfriend. AW127671502
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Issue# 6 - Spring 2020 biafarin.com/observica2020spring
Oleg Painting, Oil Color on Canvas W:110 H:170 cm 2017 Ma ria Filimonova
Portrait of the artist's friend, also painter. AW127800692
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