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Issue #7 Summer 2020

Earl Rina Paul Dettwiler Nazanin Moradi Charlotte A. Cornish Tomas Alvarez Victor Cuzmenco Artem Rezchikov The Moon Tamed by Human | W:140.00 H:140.00 D:9.00 cm | by Victor Cuzmenco

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OBSERVICA M a g a z i n e

Issue #7 Summer 2020 August - 2020

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Date:

15-Aug-2020

Publisher:

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.

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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.

Earl Rina Paul Dettwiler Nazanin Moradi Charlotte A. Cornish Tomas Alvarez Victor Cuzmenco Artem Rezchikov

Rise in the time of crisis We are in the middle of a global health emergency caused by COVID-19 outbreak. During the time of art galleries closure, cancellation of art events, social distancing and quarantine, we try to provide solutions and guidelines for artists to protect their art career and continue to showcase their art.

With people spending more time at home and sur ng online, we continue to empower artists to present artworks in online exhibitions, receive feedback from experts, art lovers and fellow artists, and share their artistic journey to the world.

Stay in touch with us and let's spread the hope in the art community.

SoloS - 2020 - Fall 100 smart online solo exhibitions showcasing artworks from international artists

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2 OCT - 2020

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Snow Graze Painting, Watercolor on Paper - Cotton W:9 H:12 in 2019 Ea rl Rina

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Earl Rina Design, Digital Art, Drawing, Graphics, Illustration, Painting, Photography

Earl Rina growing up in the UNESCO Creative City of Design, Cebu City in the Philippines. Currently, he is based in Winnipeg, MB, Canada and a member of Creative Manitoba and enjoys further studies in art program.

He also loves photography and takes nature, landscapes, animals and owers as his favorite subjects and inspiration.

He wants nothing more than to learn and forever student and share his visual adventures with the world.

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Soul Kiss | Painting, Watercolor on Paper - Cotton | W:9 H:12 in | 2019 - 2020

Earl Rina. The Contagious Joy of Color Andrea Guerrer Art Critic

The American writer Keith Haring's metropolitan ideograms showed stylized characters in endless energy vibration that instinctively depicted the great themes of the human being, such as love, death, life, fear, and peace. His Radiant babies (men who radiate) and the Barkings dogs (dogs who bark), cells of a continuous and unmistakable graphic ow, have invaded walls, car coaches, vinyl tarpaulins, paper, plastic recovered from waste and canvas in many cities of the world. His novel visual language pursued a model of "art for all" and the desire to engage as broad a public as possible, taking art out of museums and galleries and ignoring market-imposed rules.

These values are also expressed by Earl Rina's watercolors, which grafts reminiscences of Fernando Amorsolo, the undisputed pioneer of painting in the Philippines, his home country, and dreamy atmospheres in which the memory of Marc Chagall lives. Earl Rina grew up in Cebu City, elected by UNESCO as a creative city of design, and now stabilized in Winnipeg, MB (Canada), where he joined a composite network of creatives from various disciplines. Nature, landscapes, animals, and owers are an inexhaustible source of inspiration for him. They become a pretext for joyful adventures in the color in which real forms of partaking seem to explode their usual borders to fragment them into a scattered cloud of color blown like fog or as solar luminescence. His freedom of sign and invention stems from the need to narrate to make visible the coexistence between dream and reality, both made of evanescent textures like the halos of diluted pigments in the water that encounter the paper.

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His gurative research seems to follow the traces of the most ancient communicative signs of man: hieroglyphics, ideograms, and stylizations that spontaneously return to build the contours of his characters, vibrant with contemporary energy like Keith Haring's creatures but animated by an inner musicality that resonates with the world's universal yearning. This ubiquitous musical lyricism, which involves both line trends and color harmonies, is lled with playful irony and gives an image and rhythm to the daily and perennial story of the man in search of his (individual and collective) destiny and his history.

Therefore, Earl Rina's dancing silhouettes are not abstract apparitions that have ed or projected beyond the threshold of reality, but expressions of the most real and truthful essence of life. In these apparently naive visions, the artist tries to cross the knowledge and the unconscious to harmonize them in a narrative where the sign becomes the word and the image by creating rhythm and space together.

It is di cult to guess (or perhaps it is not even necessary) whether color governs the painter's hand and mind or vice versa, so much so that his images appear harmonious and natural. The characters are fully integrated into their host environments, to the point that they seem almost genuine emanations of the enchanted beauty surrounding them. Having a naive and pure look at things without pretending to understand and govern them is an ancient gift, not highly valued in western society, and few in our day and age manage to maintain it while remaining rmly anchored in contemporary society. Earl Rina is one of them: his talent for color transforms the urban and natural landscape with the same enthusiastic curiosity, and his rainbow palette gives fairy tale tones even to the most ordinary circumstances of everyday life, such as a meeting of people in a cafe or a dog squatting at the feet of a woman in search of a caress.

The real plan happily slides into imagination without the need to invent anything, with no Pindaric and arti cial misunderstandings, by merely letting the painter's pure gratitude expand on canvas to be alive and connected with his emotions. No character of his paintings is alone on the scene because, as we taught as children, no joy is such if it is not shared: Earl Rina's creatures of light also reiterate with a conviction that appears as agile human silhouettes surrounded by trails of nebulized color. These uid brushstrokes seem to perform a dual function. On the one hand, they extend the ambits of the gures by suggesting the trends and directions of their movements, on the other they allow us to visualize their feelings (of which the movement is the direct emanation) and act as a link with the landscape, in a re ned game of mutual re ection. The relationship between line, surface, color (to speak of the primary elements of pictorial language) and then between gure, background, and atmosphere (to move to the hierarchically more complex level of their combinations) is based on musical balance rather than on visual rules, and that's why the animation of the characters is immediately read as dance.

There is no distinction of style and substance between the natural and urban landscape; everything seems to blossom in an eternal spring of the heart, even when the snow is perceived beyond the window.

The light appears di used, fabulously independent of any real light source, as if we were looking at the world through a magical rainbow lter. Still, at the same time, it accurately recalls seasons, hours, and real atmospheric conditions, in an explicit invitation to pierce the veil of the habit to notice small miracles that happen just beyond the eld of vision of our attention. Earl Rina's paintings do not want to surprise and convince with the arrogance of a positive thought at all costs but want to make us rediscover that childish sense of wonder that once we all felt in front of something and that our society tends to silence because slow, non-utilitarian and incompatible with the contemporary mantra of optimization. Here, too, a not-so-popular value today in the strategic sophistication of the art system, which could be taken into consideration in order to bring art closer to a broader and more lively audience.

Earl Rina

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Bang Boom Painting, Watercolor on Paper W:9 H:12 in 2019 Ea rl Rina

It is the celebration of welcoming the new year. As they dance with joy in the City reworks.

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Dancing Fire Painting, Watercolor on Paper - Cotton 2019 Ea rl Rina

Dancing Fire - This Portraits Dancing together to the best that they can. As they are blazing with courage, beauty, and re in their dance through out their life.

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Ca Dario Painting on Canvas W:75 H:75 D:3 cm 2018 - 2019 Pa ul D et t wiler

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Paul Dettwiler Drawing, Illustration, Painting

Paul Dettwiler, Swiss and Swedish citizen, PhD,researcher, restorer, architect and since 1980 ne art painter. Specialised in art on urban environments and surrealism. Exhibitions, training and work in Switzerland and Sweden (Chalmers university of technology and at various studios of painters and restorers in Sweden and Switzerland). Numerous exhibitions on internet and art magazine publications.

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Demons in Gothenburg | Painting, Chiaroscuro on Canvas | W:70 H:70 D:3 cm | 2006 - 2017

The Contemporary Grand Tour by Paul Dettwiler Camilla Pappagallo Art Critic

Light is the essence of every landscape and constitutes the connective tissue between the depicted elements, which are visually and emotionally de ned by the atmosphere in which they are immersed. This term, which scienti cally indicates the mixture of gas that surrounds the earth, commonly called air inits lower layers where biological and meteorological phenomena occur, has extended its meaning to designate an existential condition of a given environment, concerning the feelings or reactions it may elicit. In the most evocative landscape paintings, these aspects are complementary and merge in a uni ed way, characterizing the values and visible appearances of the objects in an in nite range of unrepeatable optical and emotional shades.

Paul Dettwiler (1961), researcher, restorer, and architect with dual Swiss and Swedish citizenship,has been a working painting artist for forty years, dedicating himself to urban landscape painting in which he prefers scenic views of historic cities. In his paintings, old buildings stand as scenic backdrops that pass on the historical legacy of the place where they are located while also leaking the echo of possible stories projected in an uncertain temporal dimension between past and future. By bringing his experience as a restorer in painting, the artist uses ancient enameling techniques, superimposing multiple transparent glazes of oil painting on an egg tempera base, as painters did during the Renaissance and Baroque. From the great Venetian masters, he also inherits the sensitivity for the luminous atmospheres, through which the buildings and characters seem to come to life and acquire a dreamlike and mysterious connotation.

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The theme of the city view in Dettwiler’s paintings, while relating to this strand of landscape painting that in art history boasts numerous illustrious predecessors, is not fully included in the categories that this classi cation implies. Although most of the buildings are recognizable and faithfully marked by decorative or material details that only the expert eye of an architect can notice, they are not precise and objective views. The buildings are grouped along with the outlines of the streets (or canals in case of Venice), creating a sort of frieze that functions as a theatrical backdrop, opposed to free plots of the sky that we can only guess the vastness. The atmospheric e ects make the view palpable: the warm colors of the bricks or stones illuminated by the sun often contrast with the cold and bruised ones of the cloudy sky, creating an unsolved sense of expectation. By varying the pictorial layout and the consistency of the color (now transparent and smooth, in a minute rough and lumpy), the artist obtains a skillful mimetic representation of the various materials with a few strokes, from bricks to tiles, stone, clouds, and water.Each element is sketched in a synthetic but exhaustive way, everything is mixed with light, and the whole gives the impression of a cinematographic shot.

The artist seems to integrate and modify reality by passing it through the lter of fantasy and memory: the topographical interest in Dettwiler is the starting point for depicting the city as a meeting place for memories and mental projections that insinuate themselves between the silhouettes of "real"passersby. The tiny people who occasionally cross the streets or the ghostly presences recalling the ancient souls of the places whom already played protagonists of myths and legends, as well as the jelly aliens visiting environments foreign to them and protected by a cloak of mist, blend in with the atmosphere like a swarming background, which almost tends to escape a super cial observation. Therefore, the marked scenographic vocation of the buildings does not determine the frame of a central scene in which the fulcrum action of the painting takes place, but re ects itself, as if the buildings were at the same time also the protagonists of a narration that remains in a state of latency while keeping its dramatic potential intact.

For this reason, Dettwiler could be de ned more as a "portraitist" of facades than a landscape painter, or perhaps even better a "novelist"of cities that can bring history together with new spatial-temporal suggestions. In his case, the narration takes place not through there construction of facts, but through the expressiveness of a pictorial draft that follows the world's pastiness by incorporating light as if it were one of the constituent materials of reality. In his shots coexist the immediacy of the Plein air, the casual freedom of touch of the musician who improvises, and the careful, scienti c observation of the play of light on the surfaces at various hours of the day and in di erent weather conditions. In him, the invention is re ned and respectful in its underground visionary nature. It is an expression of the will to work on reality without the need to upset anything of the place she decides to paint. For this reason, the border between reality and illusion is very blurred. Only those who know the depicted places can realize that in some cases even the images created by the artist are impossible visions, built by assembling di erent views that are unlikely to be perceived in a single glance because they are too distant from each other or because they are hidden by the interposition of other elements that are not shown in the painting.

What the artist o ers us with his views is a journey through time and space that simultaneously recalls the eighteenth-century Grand Tour through European cities of art through precious souvenirs of a ection in which the snapshot coexists with elsewhere. The overlap between these two dimensions that can exist as parallel worlds in the same image without a ecting its coherence is perhaps the unique aspect of Dettwiler's poetry, and it thus reveals his way of feeling and"touching" reality.

Paul Dettwiler

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Courtyard of Ca d'Oro Painting, Chiaroscuro on Canvas W:60 H:60 D:3 cm 2019 Pa ul D et t wiler

Courtyard of Ca d'Oro, perhaps more interting than the front facade...?

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House of Desdemona Painting, Chiaroscuro on Canvas W:75 H:75 D:3 cm 2018 - 2019 Pa ul D et t wiler

Desdemona, Othello and their ghosts..

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Witch House Painting, Oil Color on Canvas W:70 H:90 cm Na za nin Mora di

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Nazanin Moradi Painting, Drawing, Sculpture, Installation, Mixed Media

Nazanin Moradi received MA Fine Art from Chelsea College of Art (UAL) in 2017. She has exhibited in the UK, France, Croatia, America, Iran and the United Arab Emirates. Her solo show recently presented at King St Gallery, in Lancaster, Jun 14th-July 27th 2019 and her future show will be at MK Gallery 2020. Her work creates an “other space� within which she explores personal loss. The loss she explores includes her body, destruction and re-formation of the body with the underlying conversation with cultural heritage. Boltanski believes that at the beginning of the life of every artist there is some kind of trauma artist use stories to express cultural history or shared experiences. Ritual performances are the primary materials in her research to focus on creating spaces containing the deformed ghostly bodies. She uses the photographs of performance to nalise her process with oil painting, digital collage and soft sculpture.

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Untitled | Painting, Oil Color on Canvas | W:100 H:75 D:2 cm | -

Nazanin Moradi. The Body as a Primordial Place Andrea Guerrer Art Critic

The line between the public and the private lies in the di erence between what you decide to make explicit and what you keep to yourself: most of the things that de ne us are those that we hide, those that we decide to keep private. The artist’s unique sensitivity lies in exploring the articulated plots of the human condition in the spasmodic search for identity and in investigating through their emotional intensity the su ering and problematic nature of events, living on their own skin this inevitable predestination. The boundary between the public and private in the artists is disintegrates and precisely this encroachment is the origin of the sense of attraction and identi cation that the most e ective works of art are capable of provoking.On the one hand, the observer is chained to the work by a voyeuristic drive that pushes him to delve into the intimacy of the emotions and thoughts of another individual, on the other, she nds in them a sort of mirroring of herselfand the reality that surrounds her.

The Iranian Nazanin Moradi, recently included in the group exhibition"MK Calling 2020" organized by the MK Gallery in Milton Keynes (UK)after several exhibitions in France, Croatia, America, Iran, the United Arab Emirates and the United Kingdom where she currently resides, focuses her artistic production precisely on the contradiction between the inside and the outside, two polarities that mix in her works until they become inseparable. The coexistence of two opposites is a very contemporary language, which is based on the fact that contradiction can create something stronger and more incisive than two dissociated concepts. The artist manages to establish an essential and primary relationship with the apparently inaccessible entities of the collective unconscious, materializing areal irruption of the inner dimension (understood in both a psychological and biological sense) into reality. In her images the fears, the repressed desires,the animalistic and instinctive impulses that anchor us to life are intertwined with muscles, bones and esh becoming also substance and matter. It is the most intimate and hidden recesses of the human being that have a life and strength that often exceeds her own will, to the point that we could ask ourselves if it is our bowels that belong to us or we that belong to them.

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The work of Nazanin Moradi creates an "other space" in which these tensions are dramatized in the creation of uid and obscure entities, jelly and uncontrolled demons mock us and turn into something else as soon as our gaze is able to decipher their forms. The symbolic, the imaginary and the real are exchanged and intertwined in magmatic spaces which could not be rationally allowed to exist, but in the hands of the artist acquire an incontrovertible presence. The creative process of Nazanin Moradi always starts with the ritual destruction and recomposition of a body, whose necessity is rooted in her belief that the origin of her being as an artist is a kind of trauma that allows her to be a recipient and spokesperson for a universal experience. In particular, her work combines costume, performance, painting, sculpture,engraving and digital collage in an integrated way to rethink gender issues and the idea of sexuality in connection with the cultural history of her country of origin.

The rst body to deconstruct and reshape is therefore her own, o ered to the indeterminacy of the events during the performance dance with a sacred imprint in which the artist engages in front of the camera of her iPhone wearing costumes made by herself. Subsequently, the various frames of the video become independent photographic images in which the movement, deprived of consequentiality and duration, imposes itself on the integrity of the form as a sculptural force that deforms the image, bringing out the intrinsic metamorphic potential of the human body. These digital frames in turn become the source of inspiration for the subsequent oil paintings, continuing the strati cation and remixing of the initial visual material to lead us to that disturbing unknown destination where desire and attraction, fear, pleasure and complicity come together.

These solitary shows are the primary materials in her research, in which the empathetic energy of the artist awakens in the form of images all the demons that populate our collective unconscious and the disruptive force of the original deformity.The spectral bodies generated by the encounter of these two spheres, suggest a bubbling mixture of ancestral and primary forces, closely linked to creation as an archetype prior to any cultural elaboration. The opposition between con icting tensions is a key theme of the artist's most recent creations, which by drawing and color, exacerbates the forced symbiosis between bodies forced to coexist in the same portion of amniotic space almost as if they were part of a single organism. What interests Nazanin Moradi most is the endless cycle of construction, transformation and destruction staged by the vicissitudes of these bodies and their primitive struggle to exist in an atmosphere that we imagine as incandescent as an alchemical crucible.

The impossibility for each being to exist independently and permanently can also be read as a passionate gurative metaphor for the process of"translation" of the initial inspiration from one technique to another, highlighting the impossibility of reducing the idea to a unique appearance. The gap between any visible manifestation, like the apparent in consistencies between the splitting of the various bodies and the residues of their individualities, identi es an unprecedented aesthetic of metamorphosis intended as a projection of the artist's creative identity, in which ow the private space of her studio, the materials she uses, her body and an expanded mental space that includes contemporary reality like the great mythologies of past civilizations.

Nazanin Moradi

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Turning and turning Sculpture on Fabric W:80 H:80 D:80 cm Na za nin Mora di

We come and go in the circle,turning and turningthe horizon is vertical, vertical and motion is swing-likethis void and this prisoned ight.a poet by Nazanin Moradi(textile sculpture)

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Time on Earth Painting, Oil Color on Canvas W:190 H:200 cm 2019 - 2020 Na za nin Mora di

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Life in The Ocean (Mirror) Mosaic Art, Mirror Art on Board - Wood W:18 H:24 D:1 cm 2012 Cha rlot t e A. Cornish

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Charlotte A. Cornish Crafts, Design, Digital Art, Drawing, Fashion, Graphics, Illustration, Mosaic Art, Painting, Public Art, Sculpture

Beginning with Mosaics & Drawings in 2007 Devon UK attending my rst participatory exhibition with Mosaics in Exeter Devon then the Devon Open in 2008 plus joining British Association of Modern Mosaics & the UK Pencil Society started with my paintings in 2017.

Further information can be found via the following links where the vendor takes 35% of the sale price other costs are inclusive of the Postage & Packing: https://www.saatchiart.com/account/artworks/717828 https://www.saatchiart.com/lottiecornish Education My rst Competition at Primary School of Ms Easterbrook's dog 'Jonesy' - Took Art as a subject gaining a Grade1 other quali cations include BTEC diplomas to University Study Exhibitions - 2008 International Year of Planet Earth Exhibition 5th May - 28th June - Devon Open Studios 2008 - 13th - 21st September - 'Music of The Eye' Exhibition At The Corrinium Museum Cirencester Gloucester 2009 - 6th March until the 2nd May 2009 - 'Heavens Above' Exhibition At The Opus Mosaic Gallery Exeter Devon - May 25th - July 25th 2009

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Rocket (Mirror) Mosaic Art, Mirror Art on Board - Wood W:20 H:20 D:1 cm 2009 Cha rlot t e A. Cornish

A selection of glass plus ceramic in three shades - A collection of beads, glass pieces & byzantine glass, Coloured Transparent tiles, Bullseye Glass, Glass Pebbles, Ceramics, Mille ore, Mirror Pieces This mirror is all hand cut & sealed - ready to hang Each piece is cut, placed & set onto a strong treated preserved surface base.

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RecherchĂŠ (Mirror) Mosaic Art, Mosaic Work on Board - Wood W:41 H:41 D:1 cm 2020 Cha rlot t e A. Cornish

Vitreous Glass, Glass Pebbles, Individual Hand Made Tiles, Italian Mili ori, Other tiles & Mirror Pieces

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The Shield (Mirror) Mosaic Art, Mosaic Work on Board - Wood W:66 H:51 D:1 cm 2020 Cha rlot t e A. Cornish

Cut sized pieces of Mirror with Vitreous Glass, Gold link Glass Tiles, Marbled Tile Glass, Dot Glass, Murano Glass & Hand Made Ceramic Tiles sealed onto a treated wooden surface with chain xed to hang or leave to free stand as heavy.

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Vortex (Mirror) Mosaic Art, Mosaic Work on Board - Wood W:51 H:38 D:1 cm 2020 Cha rlot t e A. Cornish

Mosaic Mirror made with Various Vitreous Glass, Ceramic Hand Made Tiles, Glass Pebbles plus edged with Blue Murano Glass.

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Arte Laguna - 2021 International Contemporary Art Competition Venice — 15th Edition

November

20 NOV - 2020

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Boost your art exposure using Biafarin online exhibitions The online art exhibition is not about just displaying artworks on the internet!

For an e ective online art exhibition, the key steps include planning, invitation, promotion and analyzing the reports and feedbacks.

Here are a few tips to make the most of your online exhibition in Biafarin.

Share your artwork badge: As soon as your exhibition goes live, each artwork badge will be sent to participant artists and the gallery along with an instruction to share. To boost your exhibition presence, you can simply share your artworks' badges in your social media network with all related hashtags.

Tell your artwork story: Your artwork description is what makes a potential buyer to decide. So, do not be shy to express your artwork uniqueness and tell the compelling story of your artwork followed by your inspiration to create.

And if you forgot and the exhibition is already live, no worries. Add your description in Biafarin platform and it will automatically appear on your artwork's page in the exhibition.

Receive and read your artworks reviews: Biafarin online exhibitions enable visitors to write and share their feedback with artists. This is the door to get into your audience heart and mind. Read your visitors' reviews and reply back to keep the communication open and ongoing.

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Use promotional materials properly: Biafarin online exhibitions provide promotional tools and materials such as exhibition poster, artworks badge, certi cates and artwork reviews. You can share them in your network with proper mentioning, tagging and hashtags to increase your artworks visibility in online world.

Monitor the exhibition status: Biafarin smart online exhibitions provide statistical and analytical reports that include the number of views, overall exhibition ratings, artwork engagement rate, popularity level and even the countries with highest number of visits. Share your reports online and use this valuable data and knowledge to learn more about your target audience.

Share exhibition catalogue: Each online exhibition in Biafarin can bene t from a stylish catalogue which is circulated internationally. This catalogue showcases all the artworks and keeps the exhibition record. By sharing it in your network, you can expand the reach to engage more people and get more exposure.

Showcase your artworks online Use smart online exhibition features and boost your art visibility and sales Exhibit Now

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The Island Photography, Digital Photography on Glossy Paper W:16 H:20 D:1 cm 2019 Toma s Alva rez

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Tomas Alvarez

I'm a photographer, living in Minnesota, that focuses on calming, tranquil, ambient landscapes that soothe. I primarily use long-exposure techniques to create ribbons of water, still lakes, and streaking clouds - all in the name of tension reduction. I think it's important to remember that even though we can't stop time, time, itself, can make beauty as it passes.

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Time According to a Rock Photography, Digital Photography on Glossy Paper W:24 H:16 D:1 cm 2018 Toma s Alva rez

Clouds and water move as Hollow Rock, in Grand Portage, Minnesota, stands strong.

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Icebergs at Black Beach Photography, Digital Photography on Glossy Paper W:24 H:16 D:1 cm 2019 Toma s Alva rez

Miniature icebergs oat in the still waters of Lake Superior, at the bay of Black Beach, in midMarch, at sunrise.

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Perseverance Photography, Digital Photography on Glossy Paper W:24 H:16 D:1 cm 2020 Toma s Alva rez

A weather-beaten cedar tree holds fast to a precipice along the shore of Lake Superior, near Tofte, Minnesota, in the early spring.

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Big Manitou Falls Photography, Digital Photography on Glossy Paper W:16 H:20 D:1 cm 2019 Toma s Alva rez

Water ows down the rocky cli that makes up Big Manitou Falls, Wisconsin's largest waterfall, near Superior, WI.

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Attempt of Synchronization 1 Mixed Media on Canvas W:158 H:161 D:9 cm 2020 Vic t or Cuzmenc o

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Victor Cuzmenco

Ukranian born artist Victor has been developing his own art concept of Ontologic Painting for the last thirty years. Its evolvement had much in common with the contemporary international art movement ZERO founded by avant-guard European artists.The artistic interpretation of being and existence in his paintings is embedded in primary geometrical forms and natural primordial media as sand, earth, clay, and shell limestone. Non-objective and non- gurative compositions suggest zero plot or narrative associated with the material world. A viewer may see either a mesmerizing chaos, or something trying to structure. All this gives a viewer room formulti-scale perception of the picture: a galactic world or microcosm.

Victor Cuzmenco was born in 1948 in Divizia settlement, Odessa region, Ukraine. He graduated from Moscow State Institute of Fine Arts named after V. Surikov in 1974. Victor Cuzmenco exhibited his works in more than 250 Moldovan and international exhibitions and art shows. His paintings are in the funds of National Art Museum of Moldova, CIS museums, the funds of Russian Ministry of Culture, private collections in USA, Germany, France, Italy, the Netherlands, Sweden, Turkey, Israel, Singapore, Russia and Ukraine. His personal shows were held in Moldova (20162018, 2000, 1994, 1991), Korbeins Galerie – Frankfurt, Germany (1993), the Central House of Artists, Moscow (1991). The artist was awarded the Diploma of Moldovan Artists Union “for the best coverage of creative theme”; his art was also included in Art Encyclopedia of Moldova.

Victor’s artworks were exhibited at such group shows as VIII and IX International Exhibitions in Lion Cultural Centre, France (2002, 2003), the exhibition of Moldovan avant-guard artists in Dusseldorf, Germany (1996), «Art-Myth-93» in the Central House of Artists, Moscow (1993), group exhibition at Uppsala Contemporary Art Museum, Sweden (1992), the Exhibition of creative group “Fantom” in Ismail, Ukraine (1990), the exhibition of Moldovan artists in Aachen, Germany (1990), group exhibition in “Art Base” gallery, Singapore (1989).

In 2019 Victor Cuzmenco was awarded the Prize of Art and Culture Center in Bacau, Romania.

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Ontologic Tricolor Mixed Media on Canvas W:200 H:130 D:5 cm 2020 Vic t or Cuzmenc o

Ontologic Tricolor was inspired by well-known painting Three Flags (1958) by American pop artist Jasper Johns. The technique creates volumetric textured surface of natural media symbolizing the national land. The overall image uses geometrical forms, textured natural media and a real world objects to suggest the multiple interpretation in a blended abstract and representational artwork. Thus the painting generates viewer’s perception of common nature with the national ag.

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Cockiness 2 Mixed Media on Canvas W:120 H:160 D:9 cm 2020 Vic t or Cuzmenc o

In the attempt to express his idea on canvas the artist goes far from realistic image of a cock. Irascibility and impertinence of the character is expressed with bold and large geometrical forms made up of ground in various shades and vibrant contrast hits of oil paint. Angularity and sharpness of the gure refers to strife of such character. Realistic ropes and frame (on the edges of the artwork) symbolize a certain deterrent, which reinforce artist’s idea. The metaphoric volumetric image of egg-sphere-planet stimulates the perception on a cosmic scale. Thus, the artist aims to render the impression of cockiness through the image of a cock as an archetype.

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Flying Wild Steppe Painting, Mixed Media on Canvas W:140 H:120 D:5 cm 2020 Vic t or Cuzmenc o

The vertical wide fragmented line in the center is made up of various kinds of ground gathered in steppe. It embodies the fragment of this steppe on the black background of cosmos. The wild steppe is trying to break up with its yellow roots and y into the blue.

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The Moon Tamed by Human Mixed Media on Canvas W:140 H:140 D:9 cm 2020 This image of the Moon renders the idea of the space body explored and touched by human Vic t or Cuzmenc o presence starting with the rst footprint. The surface consists of irregular bold geometrical forms as if the Moon is divided not only geographically but also politically into territories, regions, states, etc. Its, mountains, volcano craters, lakes, valleys are all controlled by mankind. The realistically depicted ropes refer to this control over it by three main space powers in the images of national ags – USA, USSR and China. The Moon will never remain untouched but will be more and more explored and exploited by human.

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Chinatown, NYC Painting, Oil Color on Canvas W:40 H:50 D:4 cm 2020 Art em Rezc hikov

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Artem Rezchikov

Artem Rezchikov is a contemporary visual artist, born in Abakan (Russia, Siberia). Currently lives and works in Moscow.

His love to create and some 1-st place victories at the city-level drawing contents in his teens pointed out that he came to this world with an innate talent to “paint”. This gift was so obvious to the others and daunting due to the notorious artist’s fate to his parents, that after consultations with psychologists Artem was introduced to architecture.

He studied at the Florentine Academy of Art and the State Academy Moscow Architectural Institute (MArchI). Graduated from the National Research Moscow State University of Civil Engineering (Architecture& Engineering Dept). However, he could not escape his fate and did not become an architect due to even minimum-required compliance (from a security point of view) in architecture. The world of Art for its absence of any framework has consumed him entirely.

Artem is a member of the Creative Union of Professional Artists of Russia. His works were shown in a number of exhibitions in Russia, including «The Artist’s World» (TSKS Vostok), «Spring charm» (Moscow City Duma), «Great space of being» (the State Central Museum of Contemporary Russian History), «Son on Summer night» (the Cultural Center of the Embassy of Armenia).

In 2018 and 2019 he was awarded rst prizes for such Ukraine-based international competitions as “His Majesty Landscape 2018” and “Individual Portrait Contest”. In 2020 his oeuvre was represented by the Spanish VAN GOGH Art Gallery in the International Contemporary Art Fair “Art3f” in Brussels.

Artem’s works are in private collections in Italy, Australia, Canada, Ukraine and Russia.

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Cuba in a Cube Painting, Oil Color on Canvas W:200 H:140 D:4 cm 2020 Art em Rezc hikov

Artist about his oeuvre: “In the era of complex technologies, I think that the visual art of the next century requires clarity and simplicity, an appeal to common sense in the immense beauty of creation.

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Fuel for the Soul Painting, Oil Color on Canvas W:80 H:100 D:4 cm 2020 Art em Rezc hikov

Artist about his oeuvre: “In the era of complex technologies, I think that the visual art of the next century requires clarity and simplicity, an appeal to common sense in the immense beauty of creation.

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Large Family. Cuban Journey Painting, Oil Color on Canvas W:100 H:80 D:4 cm 2019 Art em Rezc hikov

Artist about his oeuvre: “In the era of complex technologies, I think that the visual art of the next century requires clarity and simplicity, an appeal to common sense in the immense beauty of creation.

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New York (6th Avenue) Painting, Oil Color on Canvas W:100 H:80 D:4 cm 2020 Art em Rezc hikov

Artist about his oeuvre: “In the era of complex technologies, I think that the visual art of the next century requires clarity and simplicity, an appeal to common sense in the immense beauty of creation.

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